INTERVIEW: Crooked Teeth

INTERVIEW: 

 Crooked Teeth

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THE germ of Crooked Teeth spread from Glasgow…

where Rob and Jo met – having played the circuit in their bands, For Abel and Evol. A couple of years down the tracks they moved to London where, following a chance meeting, they were back in each other’s lives. That is the moment Crooked Teeth formed and, after discussions and compromise, headed into the studio with their friend Sam – wielding the guitar. The trio fuse synth-propelled sounds with lyrics that address issues in society - and deeper issues few artists document.

I talk to the guys about their current single, Mirrors, and what it represents. With its LCD Soundsystem vibe; I was curious to know about the song and how it came together. The chaps discuss their beloved home of London and its merits; the differences to Glasgow and what they have in store for the remainder of the year.

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

Crooked Teeth: Jo, Rob and Sam.

How are you enjoying the weather right now? Any chance to hang out in the sun or too busy right now?

Always busy!

But, yes, managed to catch a bit.

Can you tell me about new single, Mirrors, and what the song is all about?

J: Mirrors is a celebration of individuality in a metropolis that’s becoming increasingly homogenised.

It’s, at once, a greyscale and psychedelic-technicolour love-letter to the city of London.

I know the song is a reflection on London’s increasing homogenisation. How do you think this gentrification is affecting the spirit and soul of the city?

S: Well, the joy of London is really the diversity of experiences; that’s it. Once that’s gone, it’s not the same city.

In terms of making art; there’s still loads going on but these days it costs so much to live here - there isn’t the breathing space for many people to put time and energy into projects just for the love of it.

Every square-meter is potential ‘luxury apartment’ - so don’t get too attached because you’ll soon be moving on.

All of us have moved here from somewhere else, though, so I’m a bit hesitant to make sweeping statements about gentrification.

How have you guys reacted to the recent incident at Grenfell and the fact Labour are becoming more popular and desired by the people of the capital?

Grenfell was horrific and totally avoidable so the reaction to that is a mixture of despair and anger, really. As well as being a terrible incident in itself, I guess a lot of people feel it as confirmation of something they were already feeling - about the way Londoners that aren’t rich are almost treated as an inconvenience.

Regarding the election: it’s encouraging. There’s been a long period of government shrugging off responsibilities with very little publicised opposition. People are seeing and feeling the results and it feels like those questions are finally being asked.

I nearly wrote an essay reply to this but decided to keep it short! 

Rob and Jo. I believe you met in Glasgow and were playing the circuit there as part of other bands. How long did it take to realise you should start your own band – and recruit Sam into the fold?

J: Rob moved to London a while before I did.

We’d never worked together in Glasgow (save for one gig where I stood in as drummer in his band (For Abel) and, when Rob found out that I’d moved here, he instantly talked about starting a new project. I suggested, much to Rob’s initial bewilderment, that we make it synth.-based - instead of the usual Rock outfits we’d grown accustomed to in Glasgow.

Rob Invited Sam along to the first jam with his guitar and pedals and we all hit it off straight away.

How does the music scene of Glasgow compare to London, would you say? Does Glasgow offer the individuality and authenticity London is losing?

It’s more constructive, in my opinion, to refer to Hackney’s music scene and the other boroughs individually - rather than an all-encompassing ‘London scene’. Hackney feels a lot like Glasgow: similar grubby little venues; not to mention a friendly sense of community among local groups and promoters/sound engineers.

There is a definite ‘Glasgow sound’ that is absent in London and likewise, but, in terms of scale and breadth of individuality, I’d say Rob and I feel just as at home here.

What are your future plans regarding music? Any E.P. or album approaching?

Yep.

We’ve got a fair bit of material recorded - or nearly there - so you’ll hear some of that soon in one form or another. 

The music is produced in Jo’s warehouse studio in Manor House. How important is that space and is it a great place to record in?

S: That space was vital in the early days.

It meant we could write and rehearse without having to shell out for studio time. For recording, it was very much a D.I.Y. effort - and the warehouse was the space we had available.

Jo knows his stuff and did a fantastic job using limited gear. It just meant we had the time to record and mix the songs how we wanted - not that we spent ages on it - but there’s no way we could have got as much done if we hadn’t had our own space.

J: Warehouse living seems to be fading out with the wave of gentrification.

It was a useful space, but with the current state of music recording technology, you can make great recordings no matter what room you’re in.

As Crooked Teeth; you play Noise-Pop and have your own style and sound. Are there any particular artists who have been influential to you guys?

S: It’s funny, because someone asked this, not long after we started, and we all came out with bands that don’t sound anything like each other.

So, maybe C.T. sounds different to all of us. We didn’t really talk about influences at all before we rehearsed.

J: It feels like we’ve brought several different elements to the table which seem to have amalgamated into something beyond our control, and so, we’re continually surprised what the comparisons people make.

What tour dates are coming up? Where can we see you play?

Our next show is supporting All the People at The Finsbury on Saturday, 26th August. We’re playing with MUX at Paper Dress Vintage on 9th Sep.

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IN THIS PHOTO: AT/ALL

Are there any new artists you recommend we check out?

S: I’ve been listening non-stop to a record that came out about this time last year by an Australian band called AT/ALL (Sun Dog).

It’s super-good. 

J: South London-based Mx World is soon to drop her first E.P.

Her chaotic, colourful synth.-scapes are some of the most exciting music I’ve heard in years

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

S: That’s impossible!

I’ll change my mind in an hour or so but I’ll say No Pocky for Kitty by Superchunk – first, listen to my all-time-favourite band.

J: None of this would have happened if it weren’t for Portishead – Third

It shook me violently out of a creative lull and pushed me into buying some analog gear. It changed everything for me, musically.

R: I just want to choose my favourite album by my favourite band, Guerrilla, by Super Furry Animals

I love how they push the boundaries whilst using a classic songwriting formula. I probably listen to Some Things Come from Nothing every other day.

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

S: I don’t know if I’m in any position to offer advice but I guess I’d say don’t wait around for the next bit of gear or perfect opportunity: just play and record and you’ll learn and find out what works a lot quicker anyway.

Trusting your band-mates is important: being open to seeing where they take your ideas, but also, all feeling free to say when you don’t think something works.

That’s where the magic is for me.

J: You’re a band, so be in a band. Don’t be a leader: be in a band.

Appreciate your creative team and let it grow organically.

A MacBook will never, ever replace human musicians.

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).

S: Young Shields by Casiotone for the Painfully Alone, please

J: Eclipse Total by Aries

Discovered her earlier this year at Primavera Sound. She’s wonderful.

R: STRaiGHT eDGe by Gablè

Short and simple, but I love it and all the different samples they cram into it.

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INTERVIEW: The Hyena Kill

INTERVIEW: 

 The Hyena Kill

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THIS is my second Manchester-based interview of the day…

but The Hyena Kill differ greatly to Sukh. The two-piece have shades of Queens of the Stone Age and Deftones; they rally against the ineptitude and corruption of the current government. RED is their most confident and assured track to date – the best work they have created to date. I talk to Steve and ask him how RED differs from their album, Atomised, and what he makes of the government’s handling of the Grenfell tragedy – and whether it was cathartic funnelling anger through music.

He suggests some musicians that are worth following and what it was like working with Tom Peters at Grand Studios and what the mood in camp is right now - and ripe and productive the Manchester music scene is.

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

Hey. It’s been awesome.

Putting the finishing touches to our next single.

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

We are Manchester-based two-piece (noise bastards), The Hyena Kill.

I’m Steve and play guitar and shout.

Lorna couldn’t do the interview but her job is to basically smash the sh*t out the drums - which she does really well.

RED is the current single from The Hyena Kill. What can you tell me about its origins?

It came out of nowhere, really.

I was in our rehearsal room quite late one night working on another song and just got fed up of not being able to finish it - and just lay on the floor with my guitar. I just came up with the main riff and just kept playing it over. That’s all I had really.

I played it to Lorna the next day and we just jammed it out. It came together really fast.

It sounds like it was a very personal and challenging song to put out. Does it feel quite cathartic now it is released?

Yeah.

Lyrically, it was definitely good to get that down - although it does feel a bit more cryptic when I listen back. I don’t think the subject is that obvious - which I kinda like looking back at.

It was recorded and mixed by Tom Peters at Grand Studios. What was it like working with Tom in Clitheroe?

We did our debut album with Tom as well as a few other recordings. We are really used to how Tom works and he just makes the sessions really relaxed - without losing any work ethic.

He’s always forthcoming with ideas and advice on how the track should sound. We love working with him.

RED is the first new material since your album, Atomised, was released (earlier in the year). Can we expect any more material later this year?

Yeah.

We have just finished another single that we have done at The Nave Studios in Leeds with Andy Hawkins. We are really proud of this one: it sounds amazing.

We feel it’s one of the best things we have ever laid down.

It seems RED signifies a definite turning up of the wick. Do you think this is your most assertive and focused track? Do you feel more together and solid a duo since your earliest work?

Personally, I think RED is just a hint at what we have been working on. Our next album will definitely be a ramp-up from Atomised - I think we have learned a lot more about ourselves as musicians since the last album. 

With such a limited set-up, you really have to push yourself to keep things interesting.

PHOTO CREDIT: Gunnar Mallon

A lot of your songs deal with addiction, self-medication and thrill-seeking. Do you guys have any political anger inside? What has been your reaction to what has happened in London (Grenfell and the terrorist attacks) and Manchester (terrorist attack there)?

The level of corruption and deceit in this country makes me so angry and frustrated. People everywhere are dying just to line pockets. I truly hope we find out the truth about what happened at Grenfell - but I fear there will be a lot of effort going in to covering up the blatant disregard for people’s lives.

This government is a complete shower of sh*t that only work to serve themselves and their rich friends. Fu*king stinks!

What is the music vibe like in Manchester? Is it the perfect place to breed music of all varieties and shapes?

It’s absolutely class!

There is so much quality and variety. It seems to just get better every year. The amount of awesome bands in our rehearsal rooms alone is mind-blowing.

I hear bits of Deftones and Queens of the Stone Age in your music. Are there particular bands you take inspiration from when creating your music?

I, without a doubt, am influenced by Rock and Punk guitarists - I’m a sucker for a filthy riff. 

Warpaint have been on heavy rotation on my stereo for a long time now as well. You can hear bits creeping into our music every now and again.

I know Lorna’s influences range anywhere from cheesy Pop to Hip-Hop. If it has a sweet beat, she’s all over it.

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Do you guys have much time to chill away from music? What do you like getting up to?

We spend a lot of time in the rehearsal room, which, basically eats up all of our spare time.

When I’m not playing music: I like to just get smashed with my friends and let off some steam.

 IN THIS PHOTO: False Advertising

Are there any new artists you recommend we check out?

Our good friends - and fellow Mancs - False Advertising and The Empty Page.

Also, Pearl Harts from London.

We love them bands

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

It has to be White Pony by Deftones.

In my opinion, it’s a masterpiece. I still love it with the same amount of passion now as I did when I was fourteen.

The songs have all aged really well.

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

Practice and gig as much as possible - and don’t be a d*ck.

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).

God Damn - Dead to Me

(I’ll choose for Lorna - Steve)  Warpaint - Undertow

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INTERVIEW: Sukh

INTERVIEW: 

 Sukh

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A doctor by day; pioneering musician by night…

sounds like the start of a should-be-on-the-silver-screen pitch. In actuality, it is the reality for Manchester-based Sukh - he is a sometimes-doctor and writes at all times but that is a bit clunky to fit into a single line! Since releasing his eponymous debut L.P. in 2013; the young musician has been busy bringing his Chamber-Folk and lupine vocals to the general populous. Thriving in a city as compelling and cosmopolitan as Manchester; he is making big strides and creating some of his finest-ever work. I ask him about the new track, Flight, and how important Manchester is to him.

I get an idea of the music that drives him and what his background is; what it was like working with John Simm (Cleft) and the Manchester String Quartet on his latest single and gig plans that lie ahead.

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

Hi, yeah.

It’s been a busy one. It’s been good.

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

Sure. I’m Sukh: a singer-songwriter - and sometimes a doctor - based here in Manchester.

Flight is your new single. What can you tell me about its story and origin?

Flight is a mix of old and new ideas. I had a few ideas for it. It started with the chorus and slowly developed from there. It’s a song about the transience of things both good and bad.

For the ending, I wanted to make the listener feel like they are flying.

 

John Simm (Cleft) and the Manchester String Quartet appear on the song. How did you come to meet them and what do they bring to the music?

I met John way back in a pub - after talking online for a bit - and he’s (just) an overall great musician to work with. I’ve worked with the Manchester String Quartet before and John Purton (another John) helped with the arrangements as well.

They are great to work with and deciphering the ideas I pursue.

It is taken from the forthcoming, Galactic Love Machine. I have to ask where that title comes from...

It was taken from the stars. Haha.

The true story about it is that my friend Rob came up with it when thinking of band names - and I liked it a bit too much.

What kind of themes and ideas do you look at in the album?

The themes in this album are quite simple and direct: love, acceptance; gratitude, and being a dreamer - to name a few.

Firstly, I had to decide on a sonic palate - and I wanted to create something earthy and, at times, a bit '80s. There’s quite a mix of different styles and genres on the album.

I’ll let you decide what they are.

Based in Manchester, you must be aware of how the city is changing. What is the music like there and how instrumental are the people there to your creative drive?

I love Manchester.

It’s a great place and it has a thriving city. It has introduced me to my band and to Fred - who co-produced this record. All of them shape the content in one way or the other.

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Some have compared (aspects of) your music to Coldplay. Is that a band you are inspired by? What kind of artists influences you?

My influences are broad.

Can’t say Coldplay is a direct influence. I liked their Rush of Blood to the Head era, I suppose.

Artists that influence me currently on an ever-changing list include The National, Jason Isbell; Sigur Rós, B.B. King; Alabama Shakes, Beach Boys and Phoenix.

Over the years, you have resided in other cities and tackled the open mic. scene. Was there any particular country/city that had a big effect on you – in terms of the people and music?

London and Manchester have both been instrumental.

I used to go to open mics nearly every day when I first started out in Manchester - and my time in London showed me there are so many talented musicians out there looking for their little piece of something.

Had some great nights there.

How important are authors like Tolstoy and psychologists such as Lyubomirsky? Does literature compel a lot of your music?

The psychologists influence me and Tolstoy was a master of people.

In some ways, the album is about following some of the evidence they lay out about what makes a man happy.

What kind of live dates do you have coming up? Any you are particularly looking forward to?

Kendal Calling is next week and really looking forward to it.

More to be announced soon...

After that, any plans for more music? What are you hoping to achieve over the next few months?

Gonna get the album out first and then we’ll talk more. But yes lots more coming. Still deciding whether to release another single first or whether to get the album out.

Stay tuned.

Are there any new artists you recommend we check out?

Most new artists aren’t new. Haha.

Some people that are worth a mention are people I have encountered on my circuit - including bands like Ivan Campo (extremely charming trio) and The Little Unsaid - who never ceases to amaze me with his musical prowess.

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

It’s impossible to choose...but here are a few:

Bob Dylan - Blood on the Tracks

I remember the first time I listened to it and I (just) thought it was perfect.

Sigur Rós- Takk…

Seeing them on their tour of Takk… was a phenomenal experience. I was a teenager (just) discovering music.

Laura Veirs - July Flame

I have a musical crush on her.

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

It’s a long road ahead of you - and make sure you’re doing it for the music and nothing else. It won’t pay at first and it means lots of work; not just musically but in terms of almost of being a business and an enterprise.

Be passionate and keep on keeping on. 

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).

Tilted - Christine and the Queens

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LIVE REVIEW: LITM vs. Musicmusingsandsuch: Kiera Court, Lewis Fieldhouse and Pillow Queens

LIVE REVIEW: 

IN THIS PHOTO: Pillow Queens

LITM vs. Musicmusingsandsuch: Kiera Court, Lewis Fieldhouse and Pillow Queens

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THE signs looked ominous as the rain decided…

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IN THIS PHOTO: Lewis Fieldhouse/PHOTO CREDIT: Juliette Carton

to royally cack itself all over Harringay (and other parts of the country, for that matter – it isn’t that selective) and the, predictably, unstable British weather had a bit of a paddy. Another wet Sunday and what better place to be than under the roof of The Finsbury – there are others but it seems rude to mention them in a feature about the place! In any case, it was a pleasure returning to the bar and one of the best small live venues in the capital. Not having met any of the three acts that were due to perform last night; I was curious how they would all blend – and whether there was going to be any clashes in sound; a bit of an imbalance.

Before that, and it seemed like things would go pretty well. Meeting the acts before the gig took place – and offering a few of my 'free beer/cider can' tokens (I was driving so had to be ‘good’) - it was interesting seeing their reaction to the place. Going through the sound-checks; I got a chance to see the acts for the first time. Everything went smoothly and it seemed, just before the punters started to roll in, everyone was happy.

It was, then, down to the act of performing….
 

Kiera Court

PHOTO CREDIT: Julien Lallouette

One of the most charming and unique artists on the night; there was something captivating about Kiera Court. She is only twenty – it was mentioned a few times on stage – but that made the set all-that-more-remarkable as she handled the impressive-sided crowd with confidence. It was, away from the songs, the rapport and conversation that gathered laughs and smiles. Many performers rattle through songs and do not engage with the crowd: Kiera was eager to chat and explain the songs and their origins. It seems, for most of the tracks, a particular guy was the inspiration. Whilst pretty cracking to look at – her words; not mine – it seems, as is the case with a lot of relationships, his morals and loyalty didn’t match his looks. Getting that background – mixed with humorous and vivid backstory – provided us exposition and depth. The songs, as such, meant a bit more than, say, they were delivered with nobody knowing anything about them. It was clear, even before a note was played, Kiera has a stage presence and personality that draws you in. The audience was charmed and were enraptured by the performance. The sparsest set on the night – just Kiera and a guitar – it was a brave and seamless set that saw the likes of Hot Mess, Cinnamon and London Town delivered. Cinnamon’s title was added later in the creative process – Kiera was, as you’ve guessed, eating cinnamon when searching for a title – and showcased the purity, range and beauty of her voice. Hot Mess, one of the jumpier and more energised moments, was first out - and got a great reaction.

PHOTO CREDIT: @allison__stoddard

Joanna, dedicated to and about her friend, was a tender and exceptional song. Among the other songs she delivered; it seemed any pre-gig doubts were unwarranted. It was a great start to the night and, long after the performance was over, people were talking about it. Kiera recently released her E.P., Angry Face & Boat Shoes and has dates in London on 31st (The Social) and Apples and Pears Bar (on 9th August). Look at her Facebook page (below) to keep up - but I would thoroughly recommend seeking her out. She is an assured, memorable and compelling performer whose performance/songwriting talent belies her years – someone who is barely out of their teens should not be that good! In any case: Kiera is moving to London very shortly – not too far from The Finsbury, in fact – and will give her centrality and convenience. She has other London gigs approaching but I can imagine, on the strength of the performance at the likes of The Finsbury, she will be getting many more requests. I caught shades of Lucy Rose and This Is the Kit in Kiera’s vocals and a nod to classic artists – someone whose tones, lovable personality and huge talents will see the people flock to her gigs.

PHOTO CREDIT: Ray Roberts

If Kiera Court’s performance was the most unadorned and uncomplicated; Lewis Fieldhouse’s was the most eye-opening. Not only because of a rather natty and awesome shirt – the sunshine well and truly brought to N4 – but the stories behind his songs. Kiera’s tales concerned moving to London and friendship; a jerk of a boy that, despite his prettiness, left his marks. That seems normal for a teen/twenty-year-old but, for someone slightly older, one might not expect the kind of inspiration that Lewis explained. Accompanied by two fine fellas – whose voices thickened the harmonies; the keys/strings backing heightening the drama, beauty and rawness – Lewis provided the crowd with revelation. Theodore Washington and the Central Valley had its heart in a U.S. trip Lewis took back in 2013 (apologies if I got the year wrong). At the time, his mum was diagnosed with cancer and, rather cruelly, he was dumped six days into the trip. The American voyage was a chance to reflect, discover and detach. Whilst there, as one can hear from his album, there were bar-room dwellers and strange characters; some gorgeous scenery and the open road. Songs performed on the night – in their origin – included loose women, failed love and stark realisations. Fell in Love, F*cked It Up, opening the set, boasted a chorus that, by the second time around, was in the head and being sung by members of the crowd. Live So Fast, Kiss So Slow, a sprite and body-moving slink; Istanbul (based on a trip Lewis and his at-the-time-girlfriend were going to take before they split - the bitch!) more emotional and introspective; He Hath Made You Rich a highlight and crowd favourite. It is a song that has energy, addictiveness and memorability – one of those big choruses that, despite the self-flagellating and harsh subject matter, is one that embeds in the mind.

PHOTO CREDIT: Ray Roberts

The performances (from all three, in fact) were wonderful and it was the vocal blends that provided some of the highlights. In a lot of ways, the harmonies put me in mind of Fleet Foxes. One got the same lustrous and cascading tranquillity; the heady rushes and sweet-scented perfumes. Lewis, like Kiera, is another performer who has that ability to banter, connect and charm. Among the between-songs chat; we learned that his mum is doing well (kicking the cancer) and things are getting back onto an equal footing – he laughed that, although he was hanging with some luminous characters in the U.S., his love-life is pretty good now. As a singer; Lewis showed he was able to produce those graceful, spine-tingling high notes and the growled and lower contrasts. A full and gorgeous voice that added dimensions and physicality to the performances – another performer I would recommend everyone check out. Lewis hung around after his set and was selling C.D.s and chatting to the audience. I would recommend, if you can, buy his album - and bond with a brilliant musician with a big future. Lewis has a gig coming up in October but you can get abreast of all his happenings on his social media platforms. Like Kiera, again; another performer who has many years ahead of them. I look forward to seeing how Lewis follows his current album and whether its inspirations will be as astonishing and rare as hedonism and transformation in America!

I was a bit worried, because the weather was a bit crap, I had brought Dublin’s Pillow Queens all the way to London and provided them damp meteorology. Fortunately, they have another gig in a few days (in London) so it was not a one-off trip. The fourth gig in the country – other dates included Nottingham and Exeter – the quintet – rocked up to The Finsbury and, before taking to the stage, sampled the pizzas, beer (and cider) and ambience of the live room. It is clear, from meeting them, they have a real accessibility, wit and connection. I am not sure how long they have been together but they have a huge affection for one another and unbreakable (sisterly) bond. This translates onto stage where, from the opening seconds, one knows they are in the presence of a mainstream-worthy band. The headline act on the night; they managed to draw a really healthy crowd – the numbers for all three acts were better than expected (even though the quality was very high; the fact it is Sunday, and the weather was hostile, could have driven many away). It seemed, as they joked, half of Ireland was there to see the girls storm the joint! That they did as, from the introduction notes, they were going to get a big reaction. Again, an act that can put the audience in their palm and get big laughs and reaction.

Throughout the set, we heard anecdotes and insight. Rats, right near the end, trying to follow it, was kinda-sorta influenced by Michael Jackson’s Ben – the vermin-related songs not exactly common; if you’re going to be inspired by anyone, Jackson is a good start. I am not sure whether it was the craic or, perhaps, the beer, but there were giggles, long-winded explanation and comedic story-telling. I am not sure whether the story is true – I bought it – but the girls were brought to teary laughter – I believe, as they say, this anecdote might be repeated for their next gig – but the song was a stormer on a night when Pillow Queens saw the poor weather and added thunder and lightning to the mix! Even from sound-check; it was obvious the noise would be something to shake the walls. The crowd were jumping and, even though many had not seen the band before, were singing back parts of the first song. They were amazed the music had that telekinetic quality.

The thing about Pillow Queens is the fact that, when you hear a chorus, you are compelled to chant it and provide it support. The songs seem to blend Pixies-like Punk genius with the vocal range and sweetness of someone like Waxahatchee. If one can think of a few names to tie to the Dublin group it is, in fact, their individuality that sets the tone. Switching instruments between songs – bass and guitar exchanged – they are one of those bands that are adaptable and multi-talented. By allowing inter-changeable lead vocals and guitar/bass leads; it afforded the set a variability and freshness that did not compromise fluidity and structure. Cathy, Pam; Rach and Sarah are musicians I am keen to hire/see again and, if we can tempt them back to London, it would be awesome to put them up. This was the first time in the capital and, considering that, the turnout was staggering. They joked – or with some seriousness, in fact – they needed petrol money so, if the audience liked what they heard, to donate and buy their music. It was their banter and humour that balanced out a fierce and passionate set. Many did not want them to leave the stage (me included) because they really got into the hearts of the crowds. Queens is their U.K. tour and, between songs making it to seven-inch and plans afoot, it will be a busy one for them. If you can catch them at New Cross Inn (London) In on Thursday, I recommend you do – a show you will not forget in a hurry!

PHOTO CREDIT: @richard.burke

Apologies must go to the girls who, I am afraid, did not get a chance to say goodbye to – after their headline set; they had their fair share of admirers eager to chat. Having to catch the last train, it meant a dash across London but, I will see them very soon, and was so glad they were able to come. It was a felicitous, week-defining and marvellous event. Apologies to all the performers who, in spite of producing epic and fantastic sets, were marred and let down by a faction of the audience. Aside from the fact the live room is quite small – and has a door either side – people were coming and going and not showing good door etiquette - the constant to-and-froing must have been a distraction and unwanted noise. The worst was the chatter that, despite the fact people have been to gigs before, thought nothing of chatting during songs! It is this kind of behaviour I cannot tolerate and was reserved to the minority – a few drunk guys, especially during Pillow Queens' set, were chatting throughout songs and their conversation. It added a stain to the otherwise-stunning night and made me a bit cross. Idiots and ingrates aside; a host of positives and great memories from the event.

Thanks to Giedre (from Lost in the Manor) for making it happen (with Chris Sharpe) and being there; the staff at The Finsbury and, above all, the trio of artists who made a dreary and rain-cast Sunday evening…

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PHOTO CREDIT: Ray Roberts

ONE to treasure!

TRACK REVIEW: Luke Edney - I’ve Been Waiting

TRACK REVIEW:

 

Luke Edney 

I’ve Been Waiting

 

9.3/10

 

 I’ve Been Waiting is available at:

https://www.youtube.com/watch?v=3IwA5ZlBNcQ&feature=youtu.be

GENRES:

Rock; Blues; Pop; Folk; Pop; Alternative

ORIGIN:

Surrey, U.K.

RELEASE DATE:

21st July, 2017

PHOTOS:

J. Law and L.Edney

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LATER today, I am heading off to Harringay…

and seeing three artists take to the stage there. The destination is a lovely pub, The Finsbury, that, not only keeping things quite literal, is a great and underrated space for artists. It is the third time I have visited the place – I am there later in the year – and I have been fascinated by the artists who have played there the last few months. The reason I raise this is that there are spots all over London that are hidden and underexposed. I will start at this point but, when talking of Luke Edney, I want to address Rock; song subjects and living locations; the proximity to London and how one gets into music; song subjects and getting an education, quite literally, in music. Edney is an artist who has a sound that can translate to various venues and appeal to a broad range of people. The Finsbury, and its attractive stage is someone I can see Luke Edney playing very soon. I am not sure what his touring schedule is like but he, like every artist, will want to get out there as much as possible. I think this is an aspect many artists overlook: getting out into the public sphere and ensuring your music is heard. That might sound exaggerated but few artists are being proactive and passionate about getting gigs. I know there is a lot of effort for the modern musician – recording and promoting your music; getting it exposed and keeping on top of things – but it seems, with Edney, there is that desire to have his songs heard by the masses. In terms of looks, one might lazily compare him to Ed Sheeran – the ginger and cool facial hair; the acoustic guitar – but, luckily, he only shares personality traits with Sheeran – the music is very different. There is something naturally cool and effortless about him that will attract a lot of people in.

I know how hard it is distinguishing yourself from the crowd – there are, literally, thousands of guitar-wielding solo artists in the Home Counties alone – and I get that. Back to my point about gigs and spaces; the artists who exploit the smaller venues will be able to clean up. We have all heard how fragile and hypoxic the smaller venues are and the fact the live music scene in the U.K. is dwindling. I am upset seeing cracks form but know, the only way we are going to see a resurgence is by encouraging people to get out there. The only way this will happen is promoting and supporting the best artists. There is something classical and contemporary about Edney. He has a natural confidence and looks that gets into the mind but his mannerism, back-story and music seem to connect with the past. Couple that with a passion and conviction and here is an artist who has the energy and work ethic to hit as many venues as he can. I feel places like The Finsbury would be perfect for him but, being so close to London, there is an array of venues he can play. Many might say that, given the competition, there will many hustling for the same opportunities. It is about reading the market and doing research. It is not good rocking up to a venue and asking to perform there – you need to know what music they host and the type of musician there are looking for. In terms of Luke Edney; he mixes Rock and Folk tones and, in my mind, is a lot more adaptable and promising than most. I would urge him, to promote his latest single, hit up London especially and those spaces that support similar artists. The independent cafes and coffee shops are a great starting place; supplement that with some cooler bars and build that foundation. From there, later in the year, launch another attack and other spaces in the capital. Great venues are always looking for top talent: stubbornly applying and proving oneself is a good way to stick in the memory and get the people in. I know Edney knows all this but, in London alone, he can compartmentalise the place into ‘North’, South’; ‘East’, ‘West’ and ‘Central’ and draw himself up a mini-tour hit-list. I hope he does consider it as, on the strength of his music so far, there is a lot of potential.

One of the reasons I am flaunting London like a ragged pink boa on a middle-aged drag queen is a sense of desperation and vicarious longing. I, like Edney, am based in Surrey and I, unlike Edney, hate the place. It is not a secret confession but it revolves around the people – shall not get too detailed and vicious. Suffice to say, for several reasons – attitudes, intelligence; politically and their overbearing self of entitlement – they get right under my skin and cause a lot of depression. Surrey is a big county and there are a lot of cool people there but there is, in certain parts of the county, a toxicity that is not exactly attracting the best young musicians. I am not sure how Addlestone is stocked for venues – and what the people are like there – but I know the county is struggling to retain its musicians. There are a lot of pubs around Surrey but few genuinely great and reputable venues. The cities will always be the places people gravitate towards and set up to accommodate musicians. In counties like Surrey; there are the odd places here and there but there are limits. Even though Edney plays a mix of Rock, Blues; some Country and Folk tied in; the music tastes in Surrey – certainly among the venues – seems a bit limited. There is going to be that zeal and leaning towards the mainstream and slightly less-interesting artist. If one, like Edney, wants to find longevity and a huge audience, the cities are the places he needs to consider. Looking at his promotional material and he seems to bond with the scenes and countryside of his home – I can appreciate how the solitude and beauty resonate in him. That must provoke inspiration and creative outpouring but, the other end of the process is getting the music out to the people. I wonder whether there is a varied and viable scene in areas like Addlestone.

He, in my view, speaks to a younger audience and those who know their music – not dilatants and those looking for chart acts of the future. Maybe the proximity to London means he gets the best of both worlds, in a way but, I feel, he is a man ready-made for the city. I go down to Brighton as much as I can and always find myself comfortable among the people and the way of life down there – so many good venues and spots for musicians to cut their teeth. I am not sure whether that is an option for Edney but, if not, there are two cities that seem to leap out: Manchester and London. I am not running an anti-Surrey campaign – even though I hate the place – but know so many young people finding few opportunities. It is not that exciting and, if you are ambitious, you move away and go where the people are more open-minded, considerate and youthful. The reason for my vitriol and promotional compunction is the fact, in Luke Edney, here is an artist who is close to the capital and has music that differs from everything out there. I have smacked Surrey down but it has a lot of local spots/venues that are a good starting-point for any musician. It is essential he gets that grassroots experience and builds a name in his hometown. Even though local radio/press is a bit naff; collecting as much kudos and support as you can impresses and builds the C.V. I am thankful; actually, he is based where he is because, if he was raised in the city, one feels his music would be a bit more cynical and different. The woodland, vistas and modesty of his surroundings provoke a palette that blends personal inspection and romance with an uncommon edginess and singular talent. Invariably, the young maestro will have to accept his music has that mass appeal and, even if he wants to project to niche audiences – those who exclusively like his style of music – the city will be the place to go. I have mentioned Manchester because it is a lot more chilled and ‘friendly’, I guess, than London. It certainly has a reputation for its music and the warmth (sometimes directness) of the people. Not only do the people inspire but there is a huge and buzzing scene here – same goes for London.

I will come back to this point later – in my ready-made role as Ambassador for London and Manchester – but, for now, let me move onto something more touching and bespoke. Yesterday, I was talking about two Australian artists with a great sound. One of them is based in Byron Bay; the other has a P.R. company based on Bondi Beach. The inspiration behind their song, Polar Eyes, is different; their back-stories interesting. Luke Edney, in terms of location, is worlds away but, linking them, it seems childhood is pivotal. When my grandparents all died, they left memories and good times – but few physical things. With Edney, his grandfather left him something precious: an acoustic guitar. Rather sadly, the late relative always hankered to play the instrument but never got around to it. In a way, it is a lesson for us all: do not leave those desires and dreams thirsty and longing – grab them and find a way to make them work. If his grandfather kept this musical secret; at least, by handing the instrument down to his grandson, it meant he would have the chance to fulfil his grandfather’s dream. Although he is not around now; I am sure he would be very proud to see his grandson performing and succeeding. From a child who acquired this old and relatively untouched instrument; to a bold and ambitious musician who evokes embers of Eric Clapton and Hendrix – that is quite a leap and progression. One wonders whether that moment – the grandfather bequeathing his guitar to the bright-eyed youngster – sparked a desire to play music and succeed. Without speaking to Edney; I get the sense he is trying to make his grandfather proud and help achieve his dream. That is touching and charming because so many people get into music for the wrong reasons. This is what I meant when I said Edney has that contradiction of modern and classic. On the one hand, he uses the technologies, pertinences and streaming services of the current climb: against that, an origin and backstory that seems timeless and rare.

Most of the artists I review get into music because they want to emulate their favourite artists and make it big. I know Edney has desires to achieve success and popularity but one suspects his motives are a lot more ethical and familial. Carrying on a legacy and annunciating his grandfather’s dreams – that allayed instrument being put to good use – the young man is coming into music for all the right reasons. Teaching himself at high school age; he met and bonded with like-minded musicians who helped foster his desire for music. Again, in terms of influence, I am impressed seeing Eric Clapton and Jimi Hendrix on the list. They are lofty and world-class idols but not as common as one might imagine. A great many of the acts I review have narrow and of-the-moment heroes. I guess, in a way, the younger generations are forced new music and rely on digital means. They are not burrowing through crates if vinyl and getting excited at a near-mint condition copy of Rumours. Edney, in the way he belies his years, seems to be the kind of fella who has that desire to preserve the memory and brilliance of older artists. Maybe it is me being wistful and nostalgic – a first, looking ahead and my city desires; harking back to my childhood – but I find myself supporting artists who pursue music under the correct moral codes and understand where music came from. Edney, from his school days, progressed to the Academy of Contemporary Music and, whilst it is not a school I go to discover the best new talent, can understand how the educational foundations – and the peers he would have bonded with – have been incredibly important. The issue I have with A.C.M. – not to bash Surrey with little mercy – is the first word: it is a contemporary and modern facility that, in a lot of ways, gears its artists for charts and the mainstream. I see buskers nearby and something inside me sinks.

Aside from the odd standout performer; there is a general banality and commercialism that, one suspects, is being actively instilled into students. From Luke Edney’s perspective, it seems like his tastes and personality has overpowered that temptation to conform and modernise. His music has an of-the-moment flavour but there is so much of himself that has not been neutered and deterred by academic proclivities. I know a lot of artists who go to music schools that learn a lot of useful skills and know how important it has been to Edney. The bare bones and technical nuts and bolts are the best things about music schools/academies. You get a curriculum and insight into the music industry and make some useful contacts. So long as you eschew the urge to become a chart act and play the lowest-common-denominator style of music – buskers who play predictable covers with forgettable and boring performances – then it can be a very influential and useful. That is the case with Edney who has developed a talent for music production and, after getting that education in music; he has put it to good use. Unable to find a vocalist for his as-yet-unrealised band; he stepped alone and began his solo career. Before I come onto my next point, and tying to that debate about the city, I would encourage Edney to balance his solo career with future academic pursuits. When I hear him play and sing, I hear a young man who has the talent to emulate some of his heroes. He seems to be unconcerned with fitting into the mainstream and seeing how many millions of Spotify streams he can notch up. There is an honesty and earnestness that gets into my heart. If he were to relocate to London or Manchester; I wonder whether he would consider taking Music Production courses or something in performance – getting new insight from professionals and strengthening his incredible talent. Maybe he feels he needs to learn and evolve via performing and writing but there would be no dishonesty balancing that with additional teaching and instruction. I will return to that later but, stepping away from P.R./management push, shall come to look at Rock, genres and – to end the section – song subjects.

Let’s look at genres and the issue of Rock. Let me back things up for a second because, going back to Edney’s band days and he did play with Andy Steadman and the Handsome Devils. He lent his guitar skills for two years and assisted the band for a while. He would have learnt a lot from those days but, I feel, the artists he grew up admiring have made more of an impact. Whilst I’ve Been Waiting, Edney’s latest single, puts me more in mind of Paul Weller rather than Jimi Hendrix, there is something in the song that carefully see-saws between accessible and rare. I have said how Edney is trying to avoid being a factory-formed chart act but, hearing the song, it does have the ability to transcend into the mainstream – adding a bit of class and originality without compromising its soul and politics. It is a fantastic song whose origins I will explore soon. The tempo changes and the pace quickens as the song progresses. Whilst one does yearn for an arpeggio or Clapton-esque solo somewhere towards the end; there is a lot in the song that puts me in mind of the legendary Rock gods. The genre has been undergoing a bit of change as of late. I have mentioned how the excitement and flair we used to associate with the genre has been diluted and temporised by a lot of current acts. It seems there are these arena ambitions and, as such, something generic and insipid if creeping into Rock. There are artists who keep the spirit and inventiveness of Rock alive but so many who are not doing enough to preserve and progress the form. Big releases from the likes of Royal Blood have been predictable and basic. It seems Queens of the Stone Age show greater promise but I wonder how much room Rock has to intrigue the masses.

Luke Edney need not worry as, despite the fact I hanker for some Hendrix electricity, is developing his sound and, at the moment, does not remind me too much of anyone else. I am interesting seeing whether he assimilates his idols more acutely and forensically – keeping the core sound but adding flourish, fireworks and Blues riffs into the mix. On his current single, one hears a young man who is mixing sub-genres into Rock to keep it fresh and fertile. In the early phases, one has some Pop and Folk acoustics; it grows into something with a Blues sensibility and laces in some 1970s-inspired Rock motifs. A general energy and drive that augments the song provokes urgency and memorability. I worry about Rock because I feel our current crop do not understand the desperate state it is in. Too many are writing songs that are fit for stadiums and have that huge sound and chunky riffs. That is a much-needed staple but there are few providing anything to push the genre forward. Given Edney’s love of Clapton and Hendrix; his current sound and future desires – there is a lot to get excited about. The survival and success of Rock will be built be artists who have a need to gain success and influence without pandering to the mainstream; add new dynamics to Rock and understand the importance of the small genres. This means having a core of physicality and stun – the hard and heaviness that has the promise of stadiums – but subtlety, variegation and emotion. One of the reasons I was disappointed by Royal Blood’s How Did We Get So Dark? was because it lacked the necessary broadness for an album that arrived three years after a simple and no-thrills debut. To me, acts like Royal Blood are perfect live acts. I am reading a recent review of one of their shows and they are clearly one of the best live acts around. There are few that have the same sort of bombast, electricity and sweat-inducing excitement – considering there is only two of them.

What we need are artists who can inspire from the studio. I will bring in The White Stripes and apply them to Luke Edney. He (Edney) is a solo artist so will not be able to project the same sensibilities and exhilaration as Brighton’s Royal Blood. That said, the compositional and lyrical diversity Detroit’s The White Stripes projected throughout their ten-year recording career (might be longer than that) is worth noting. They, to me, were one of the last true genuinely inspiring Rock acts that pushed the genre forward. Not only did Jack White’s immense shredding help but the fact an album could contain acoustic numbers, savage Blues smack-downs and jiving piano-led stompers. I feel Edney is going to be one of those artists, one hopes has the same sort of variation and allure as The White Stripes. He admits himself that his E.P., Bipolar Love, was a little bit rushed. He wanted to get the recording out and have something in the ether. Modern music is so packed and cut-throat artists are releasing material quickly – so they are at least heard and on the board. It is hard asking time to prepare material because there is that feeling, if you take too long, people will forget you. If you release something quick, the quality might not connect with people – and it can be hard to come back. That is why an act like Royal Blood – taking three years between albums – ran a risk of being forgotten. The fact they are an incredible live act is, perhaps, one of the reasons people were excited to see them back. New, unsigned acts like Edney do not have that luxury. I’ve Been Waiting is a single that has been in Edney’s mind for years and he is relieved to get it out there. It differs from Bipolar Love in terms of its sound. The production is more assured and clear – it is still homemade, I think, but seems less hurried than the E.P.

The first think that strikes me about I’ve Been Waiting is how professional and unexpected it sounds. Bipolar Love, befitting of its title, has quite a ragged and rebellious sound that was a bit underproduced but created a definite buzz and excitement. Here, the production is exceptional and polished. It does not whitewash the music and vocal but it sounds like it could have been cut in a high-end studio (not sure if it was but it sounds gorgeous). The introduction is finger-picked and pastoral but it is Edney’s voice that strikes me. One looks at him and might expect something young, high-pitched and petulant (not a personal slight but many of his peers are a bunch of whiny, whinging arse-bags). Edney, to my delight, has a whiskey-soaked, cigarette-ravaged voice that pitches him between Paul Weller, Paul Carrack and Paul Young. It is that soulful and half-husked hue that reminds me of a cocktail joint. I see Edney in a corner – on a velvet-stitched stool – with a drink in his hand – one imagines he is a regular that goes for something like this. There is almost a suave, crooner-like element to him. One gets view of Frank Sinatra and Ol’ Blue Eyes delighting the crowds. All these sensations come to the fore within seconds of Edney’s tongue clicking. The guitar, at this point, is a backdrop to the urgency and romance in the voice. In fact, there are strands of Country in Edney’s voice. One never gets a sense of charts, modern artists and commercialism: this is a song born from a man who loves his older music and knows the importance of originality. This is a pertinent takeaway as the Surrey man addresses how he has been pining to create and sing new songs. I’ve Been Waiting is the anthem of a man running up the flag and keen for people to feel his presence. There is an “old feeling” that has been brewing and imprisoned inside the heart.

Not wanting to play the same song and repeat himself could, in a way, stem from the rigid and over-defined inflexibility of education – where one has to master certain songs and not allowed to spread their wings too much. Maybe it alludes to his band days and that desire to step out-front. In any case, one hears the young man finding his feet and looking for answers. If one imagines a cocktail bar-dwelling young man drowning his sorrows; to me, there is a romance and yearning that provokes thoughts. In one way, the song is a personal plea and campaign about his musical past and need for credibility and success. In another way, one gets romantic longing and urges. Maybe there is, alongside music, an underlying passion that needs quenching. Maybe that is over-analytical but I get a sensation of Edney balancing music and lust. It seems his heart, gut and soul and entwined in a tangle and unable to extract and liberate. The heart longs for music and chances; the gut seems to hanker for a sense of fulfilment and nourishment; the soul pines for music but there is a romantic side that makes me wonder whether a girl is in the mind. The lyrics are simple and clear but have nuance to them so one can digress and interpret as they wish. The biggest transformation comes when the lyrics and music step up and rise. From musical longing: it seems there is a clear romantic ideal. Maybe it is a way of speaking about music through the prism of relationship lexicon but one assumes there is a person in the mind of the hero. Edney has been patient and it seems, right now, there is someone in his mind that he needs to get. I’ve Been Waiting is defined by pent-up desires and waiting for that right time. If music success and clarity has not been as quick and ready as one would imagine; it seems sexual fulfilment is just as repressed. That might be the wrong word but there is a definite frustration.

I keep getting pulled in by the voice which seems otherworldly and born of a different time. Given he grew up listening to Clapton; I wonder who his vocal role models were. It seems like Americana and Blues were as pivotal as British Rock and modern-day Pop. It is such a rich and exciting concoction that affords the song more emotion, quality and depth than one would imagine. Edney is waiting for that “one fine day” to come back around: capturing something that has been there all along. Maybe that is purely the heart of a girl; perhaps it is the chance to take music by the horns. Whatever the true derivation of those lyrics, they are delivered with such a soothing and comforting burr. Among the banter “way after dark”; there is a young man who has these desires that need to be satisfied. The more the song goes on; the harder I find it to separate the romantic with the musical. There is a need to win a girl, it seems but, more than that, a hankering to step on and get the career roaring. Maybe my mind is divided but that might be the purpose of the song – not being obvious and creating speculation. I’ve Been Waiting goes through stages and has a nice quiet-loud dynamic. From calmer and reflective stirrings to all-out rapture and exclamation – the song goes through the emotions and captures the full spectrum of longing and remembrance. It seems there was a time when he and the heroine made time to waste time; have those laughs and forget about things. Whatever your impression of the lyrics, one cannot deny the individual nature and strength of the song. It shows Luke Edney has developed as a songwriter and, by employ a new Muse and inspiration, has crafted a song that gets one thinking and conspiring. I am fascinated by it and a voice that has needs to be heard by more people. If Edney can transport himself from local gigs and get the music to the cities; that, I think, will make him.

Perusing Edney’s social media, and it seems there is a down-to-earth and charming young man waiting to be discovered. He seems to have that conflicting personality that makes me curious. One can imagine him sitting back and having a few beers; maybe a quick fag (or something more ‘herbal’) and living one’s impressions of a traditional Rock lifestyle. Maybe Surrey is not the most Rock ‘n’ Roll county on the planet – more on that in a second – but Edney does not want to be easily predicted or defined. He has that other side: a serious work ethic and very professional approach to music. There have been teaser clips around I’ve Been Waiting. A lyric video has just been released – I have plumped for the SoundCloud link instead – and, one hopes, maybe another video will arrive. Such is the strength of the song, I wonder whether there is money in his kitty to film something. Maybe he will stay local and shoot something in the wilds and country elements of his home; perhaps he will head into the city and film an after-dark eye-opener. I would urge Edney to rustle some contacts and film a video because the song is worthy of as much exploitation and affection as possible. There have been (and are) local gigs played and lots of chances for the young songwriter to play to the local crowds. I wonder whether I’ve Been Waiting is the gateway drug to an E.P. The alluring cannabis-cum-L.S.D. of his current single opening up to a bag of cocaine, heroin and…not sure why I am going down this route. Dispense with metaphors or uppers, narcotics and Class-A drugs and, in essence, one has a musician who has a lot of chances in front of him. I mentioned, jokingly, there is something of the Ed Sheeran about his looks and promotional photos – a red-headed man carrying an acoustic guitar. In fact, that is where the similarities end. Edney is as far from commercial as you’d get and owes more to his Rock idols – than the likes of Ed Sheeran and the modern mass of beige chart-hungry performers.

Before I bring this down, I will end with music education and the modern game; a little bit about small venues but I shall return to the city, for now. I shall stop bashing Surrey because it seems, for Edney, it is working out alright for him. He got his education here and had some great gigs too. At some point, there will be the desire (one hopes) to cut the music apron-strings and relocate. It takes an hour (by train) to get from Addlestone to London Waterloo which seems convenient but, for someone of his calibre, a short Tube hop would be more beneficial. I see a man who has the desire to play the bigger venues and get his music out to the capital. If he does move to a place like London, Brighton or Manchester, I suggest it is then he will get the attention he warrants. It is vital getting local exposure but the media is not as connected and promulgating as it should be. In fact, a lot of the local media is pretty shite so a review of Edney’s gig is unlikely to make its way far beyond the confines of the country. Word-of-mouth only goes some way and, as many artists know, getting into the city is a direct way of pushing the music to the most influential and trendy crowds. I use the word ‘trendy’ but really I mean young and cool. There are cool people in the Home Counties but there pale into comparison to the large mass of uncool young and the middle-aged. I worry, if artists remain in areas like that, their music starts to conform to the sounds of the local radio stations – something numbing, dull and forgettable. A song like I’ve Been Waiting suggests Luke Edney wants to play the big venues and get his songs played by the likes of BBC Radio 6 Music.

Maybe my profiling is off the mark but any artist who wants to succeed and remain needs to dispense with the worst traits of the Home Counties and embrace the best qualities of the city. In this case, Edney has the looks swagger and talent to make it big but, let’s hope, he does not confine himself to Addlestone and Surrey. It is vital playing near home and getting that experience but musicians cannot realistically survive outside of cities. It might not mean relocating but certainly hitting-up the promoters and venues bosses of London, Brighton (or wherever) is paramount. Maybe Edney is already planning that but, to capitalise on the heat of I’ve Been Waiting; he has a chance to clean up. I can see him fitting into the cafes and coffee shops of London – not the corporate chains but those boutiques and independent chains that exist (a few more in Brighton and Manchester might tempt him there). The way I see things – if Edney is planning to release a new E.P. – Edney could formulate this game-plan. Play gigs around Addlestone, Woking and Surrey; get some reaction from the crowds and see how the locals react to the music. It is like warm-up gigs before a comic takes their show to the Edinburgh Fringe. Once he has played, say, a half-dozen shows; from there, there needs to be a bigger ambition. Edney could get gigs in London and Brighton so that is where I’d suggest. I am in London today and Brighton tomorrow: both cities have incredible venues. Brighton has Green Door Store and Komedia. Wander through The Lanes and the seafront and there are some wonderful cafes and spaces that are waiting for musicians to come in. Given the demographic and people of Brighton – bohemian yet laid-back; vibrant and colourful; a great L.G.B.T.Q. populous – the folk there know great and promising music when they hear it. London, closer to Edney, as I said, has great spaces in every corner. If he contacted a couple of venues in South London (Brixton, Clapham and Wimbledon, let’s say) he will find places to perform – this link might help. He could call it the Compass Points Tour (bit crap but something to work on) and contact venues in the East. Here are some groovy, hyper-cool and beautiful-looking spaces he could play.

Another list might give guidance. Look at the North, West and central and one has options here; here and here. Between this list, and researching other spots, Edney could easily curate a mini-tour of ten venues around the capital. This would get his music to the most prominent labels, people and venues in the U.K. Not only will he catch the ear of radio stations and journalists in London – it will open doors for more regular spots and performances in cities like Manchester (and beyond). I see great London artists switching between slots at coffee shops and those reputable small venues. I will not labour on but it is food for thought. Edney, to me, symbolises someone with a lot of promise. Shots of him with a fag in mouth and a beanie on might suggest someone who is a bit of a slacker but, whether he knows it or not, he has transmogrified from a floppy-haired lad playing local festivals to someone whose jib is cut from the cloth of the city musician. He has coolness and ruggedness that will get women swooning and the fellow bands and lads wanting to have them support him.

I feel there is a big social and friendship network for the Surrey musician in the big cities. London might not be on his mind but, given his sound, it is a good starting point. Those Rock gods – Eric Clapton and Jimi Hendrix – might materialise more overtly in future recordings but I can hear their impact thus far. Edney’s music creates a cocktail of 1960s' and 1970s' Rock with Blues and Folk; modern Pop and Rock with something proprietary and unique. He has a level-headed and hard-working approach which, I know, will pay big very soon. I shall leave this but know there will be many talking about Luke Edney very soon. Maybe he will be tempted to study at one of London’s bigger academies/schools and learn more about his craft. He is an exceptional musician but, concerning guitar and production, courses available that means he can be mentored by professionals and, thus, apply this to his own music. I feel – thrashing this horse to death – Luke Edney, when he steps into the cities, will see his music go from local levels to the bosom of national radio and the biggest venues. It is a brave move but he is a talented songwriter and musician who does not want to remain a secret. I’ve Been Waiting seems, in its title, to define a longing and frustration to get music out there and have his name heard. In terms of where he is going, and concerning success and growth, the young artist will not have to…

WAIT much longer.

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Follow Luke Edney

FEATURE: Critic-Proof: The Near-Perfect Albums Hard to Fault

FEATURE:

 

Critic-Proof:

IMAGE CREDIT: Rosabelieve (Deviant Art)/IN THIS IMAGE: Kate Bush (Hounds of Love, 1985)

The Near-Perfect Albums Hard to Fault

________

BECAUSE Arcade Fire are about to unleash to the world…

IN THIS PHOTO: Eminem (The Marshall Mathers LP, 2000)

their already-critically-acclaimed album, Everything Now, it appears that record will get unanimous praise. I find it hard believing many will give it anything less than a five-star review. That is rare in an age when there are so many media sites – could an album ever get THAT much praise?! That sort of universal acclaim, I thought, was normally reserved for albums long ago. It is not that our tastes have changed or music has got worse – the classic, titanic albums rock-up very rarely.

That said, there are a few that, if one looked at Metacritic, would be in the high-nineties. I select a host of albums – from the 1950s to now – that have gained those lofty scores and got the thumbs-up from all (or most, at least) critics.

I take a selection through the decades and, in addition to providing the album itself, select the finest track from it – a chance to discover why that record received such a fantastic reception.

__________

1950s:

Elvis Presley – Elvis Presley (March 23rd, 1956)

 STANDOUT TRACK: Blue Suede Shoes

Miles Davis – Kind of Blue (17th August, 1959)

STANDOUT TRACK: Blue in Green

1960s:

Bob Dylan – Highway 61 Revisited (30th August, 1965)

STANDOUT TRACK: Like a Rolling Stone

The Beatles – Revolver (5th August 1966)

STANDOUT TRACK: Here, There and Everywhere

The Rolling Stones - Beggars Banquet (6th December, 1968)

STANDOUT TRACK: Sympathy for the Devil

1970s:

Carole King – Tapestry (10th February, 1971)

STANDOUT TRACK: It's Too Late

Joni Mitchell – Blue (22nd June, 1971)

STANDOUT TRACK: Carey

Stevie Wonder – Innervisions (3rd August, 1973)

STANDOUT TRACK: Higher Ground

Led Zeppelin – Physical Graffiti (24th February, 1975)

STANDOUT TRACK: Kashmir

Fleetwood Mac - Rumours (4th February, 1977)

STANDOUT TRACK: Go Your Own Way

Blondie – Parallel Lines (23rd September, 1978)

STANDOUT TRACK: One Way or Another

Michael Jackson – Off the Wall (10th August, 1979)

STANDOUT TRACK: Don't Stop 'Til You Get Enough   

1980s

Talking Heads – Remain in Light (8th October, 1980)

STANDOUT TRACK: Once in a Lifetime

Kate Bush – Hounds of Love (16th September, 1985)

STANDOUT TRACK: Running Up That Hill (A Deal with God) 

The Smiths – The Queen Is Dead (16th June, 1986)

 STANDOUT TRACK: Cemetry Gates

Paul Simon – Graceland (25th August, 1986)

 STANDOUT TRACK: Under African Skies

Public Enemy – It Takes a Nation of Millions to Hold Us Back (28th June, 1988)

STANDOUT TRACK: She Watch Channel Zero?!

Soul II Soul – Club Classics Vol. One (10th April, 1989)

STANDOUT TRACK: Back to Life (However Do You Want Me) (ft. Caron Wheeler)

Beastie Boys – Paul's Boutique (25th July, 1989)

STANDOUT TRACK: Shake Your Rump

1990s:

Nirvana – Nevermind (24th September, 1991)

STANDOUT TRACK: Breed

Tricky – Maxinquaye (20th February, 1995)

STANDOUT TRACK: Black Steel

Oasis – (What’s the Story) Morning Glory? (2nd October, 1995)

 STANDOUT TRACK: Wonderwall

DJ Shadow – Endtroducing….. (19th November, 1996)

STANDOUT TRACK: Building Steam with a Grain of Sand

Björk – Homogenic  (22nd September, 1997)

STANDOUT TRACK: Hunter

2000s:

Eminem – The Marshall Mathers LP (23rd May, 2000)

STANDOUT TRACK: Stan

The Strokes – Is This It (30th July, 2001)

Strokes.jpg

STANDOUT TRACK: Last Nite

The White Stripes – Elephant (19th March, 2003)

STANDOUT TRACK: Seven Nation Army

Dizzee Rascal – Boy in da Corner (21st July, 2003)

STANDOUT TRACK: Fix Up, Look Sharp

2010s:

Kanye West – My Beautiful Dark Twisted Fantasy (22nd November, 2010)

STANDOUT TRACK: Dark Fantasy

Kendrick Lamar – To Pimp a Butterfly (15th March, 2015)

STANDOUT TRACK: King Kunta

Nick Cave and the Bad Seed – Skeleton Tree (9th September, 2016)

STANDOUT TRACK: Jesus Alone

Lorde – Melodrama (16th June, 2017)

STANDOUT TRACK: Green Light

INTERVIEW: The Ellameno Beat

INTERVIEW: 

 The Ellameno Beat

________

IT is not often one gets the opportunity to interview…

a Reggae band from Florida. The Ellemano Beat, not only provide me a glimpse into the American Reggae scene, but I get to connect with an intriguing group. Hailing from Jensen Beach, Florida; led by singer Reggie Froom, the group combine progressive Roots music and mix it with powerful horns and modern production values. I chat to the guys about new single, One of Us – the latest single to be taken from their record, Surface. I was curious how their new single differed from previous offering, Muse.

They tell me the origin of the band name and what the scene is like in Florida. I wonder whether Trump’s presidency affects them as people and musicians; what kind of gigs they have booked and whether we will get to see them rock the U.K. this year.

________

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

We are great!

This week has been very exciting as we have been getting lots of response from our new single - and are starting to make noise about our album release-party in our hometown!

What is the story behind the band name, 'The Ellameno Beat'?

In the beginning, as I had my sights set on developing a band to perform my studio work, I was searching for an Identity. For some reason at this time, a memory was floating around in my head of a fellow classmate in grade school confusing the individual letters ‘L’,‘M’;‘N’,‘O’ and ‘P’ as one complex letter - due to the repetitious rhythm in which we all learn the alphabet.

During a session with my good friend Dave Richards, who currently plays bass for Shaggy, I told him the funny story and tossed the idea of spelling out the combination of letters as if it were one single entity. Within seconds, Dave came up the idea to replace ‘P’ with ‘Beat’ - and there it was!

I like to think that by taking these multiple entities and identifying them as one: the name represents the synergy that is the back bone of the sound we are after. 

PHOTO CREDIT: Ashley Kidwell Photography 

As a producer and lifelong music enthusiast, I have never been impacted more heavily than by the experience of hearing the multiple elements of an ensemble come together to create the unique, magical sound that is Reggae music!

So, it just feels natural to represent our efforts with a simple, memorable play on words that, in a way, represents that passion.

You all seem pretty close. How did the band all come together? Have you known each other for years?

All the original cast (Reggie, James; Dylon and Walker) grew up together in Jensen Beach, FL - which is a small coastal town that thrives off of fishing and surf culture. There, we were all heavily shaped and inspired by everything that place had to offer. 

We’ve all been friends since a pretty young age - being that we all came up a part of a tight, family-oriented surf community there. As the majority of us had been playing music together since we were very young as well, when the time came to start playing live, the band was already formed!live, the band was already formed!

One of Us is the latest single. What is the story behind that one?

One of Us is a special song to all of us.

It’s born of a few very special long, creative, improvisational writing sessions. At the time this song came about, I was experiencing a phase of my relationship that has now proven to have been quintessential to the foundation of my being in its current state. There were tons of thoughts swimming around in my head at this time - and One of Us represents them directly. The cadence of this song inspired me to express my honest love, belief and commitment in the synergic life that I have begun with my significant other. 

One of Us is an invitation to express. It is an invitation to shed the weight of insecurity and just be! 

It is the second single from Surface. It is a little different from the previous track, Muse. It seems you are influenced by a lot of different genres. Would that be fair to say?

Oh, yeah!

We are all constantly listening to all kinds of stuff!

I hear a little bit of Earth, Wind & Fire on One of Us. Are they a big influence of the band?

As of late, yes!

I snagged a few of their old vinyl from my parents’ collection last year - and have been really digging into them ever since. Everyone in the group loves groovy, funky tunes.

What kind of issues, subjects and stories can we expect to hear from Surface?

We have all grown immensely since our debut release.

Surface is the product of a sincere yearning to express ourselves in our current state. The path that we have found ourselves traveling for the last couple years has given us a (very) unique view of the world we are living in - and has been the catalyst for the massive fire burning inside each and every one of us.

 PHOTO CREDIT: Ashley Kidwell Photography

You are donating the album’s sales to the Mauli Ola Foundation. What can you tell me about the cause and how you became associated? What provoked you to donate money/sales revenue to them?

As they say best in their mission statement; the Mauli Ola Foundation (M.O.F.):

“is a nonprofit organization dedicated to providing hope and confidence to individuals living with genetic diseases. Harnessing the healing powers of the ocean, we introduce surfing and ocean-based activities as natural therapies. We are honored to share our knowledge of the ocean, family values and community.” 

M.O.F. is widely known in our circle and, as we as a band hold the life that the ocean has given to us so dearly, it just feels right to support a foundation that strives to use the things we are most passionate about - to benefit people truly in need!

Jensen Beach, Florida is your hometown. What is the scene like there and is it quite big in terms of music?

Jensen is a small town full of people who love music! 

Though the scene has much growing left to do; there are a couple great places to play in the area that lay the groundwork for memorable, energy-filled experiences! We have been fortunate enough to build a large, family-oriented following there - through a massive common interest in music and ocean culture.

How did Reggae come into your life? It is quite rare for a white American band to tackle the genre – or do you feel it is becoming more common and widespread?

Since the beginning, I have been exposed to Reggae by way of my parents and family friends. First was UB40 and, of course, your standard Marley records.

As I grew and dove deeper into the genre, I began to heavily explore Roots music and became addicted to the Skank.

In the last decade, the American Reggae scene has definitely experienced a lot of growth on both coasts.

America is changing; in terms of politics and its people. Is it quite a frightening time living in the 'Age of Trump'? Is he someone who provokes a lot of fear and anger in you?

It does provoke fear and anger to watch one person unravel the progress of so many who have worked in the best interest of our country and its people. 

As someone so connected to and concerned about the environment, as well as about human rights and civil liberties, it is difficult to watch the gains American society has made during my lifetime be degraded against our better interests - and the interests of our international allies.

What can you tell us about tour dates and the rest of the year? Where are you guys heading?

For the rest of the year; we plan on touring hard here on the East Coast of the U.S. to support our new album. 

Keep an eye out for new tour dates to be dropped soon.

Any chance you’ll ever come to the U.K.? What do you think of British music?

We would love to play in the U.K. A.S.A.P.!

I would describe British music as some of the most creative and expressive music I have experienced. I am a huge fan of The Beatles and the sound they pioneered. I constantly find myself reaching for old recordings from Abbey Road for inspiration and reference - in my mission to manifest the ‘Progressive Roots’ sound The Ellameno Beat is working towards.

Also, I am currently hooked on The Skints! Such an awesome take on our genre.

IN THIS PHOTO: The Skints

Are there any new artists you recommend we check out?

Stand High Patrol; The Skints; Iseo & Dodosound.

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

Reggie: Beck - Morning Phase

That album has led me to more personal discoveries and progression of passion than any other piece of music to date.

As an engineer, I learn something new every time I listen to it and all of its sonic glory. As a songwriter, it leaves me longing for the next writing session time and time again.

As a person, it inspires hope and confidence in who I am - and who I am becoming.

Walker: The Grateful Dead - Friend of the Devil

Every song on the album represents a different time in my life, whether it be good or bad. On that record, there is a song to help me through each one of my qualms or quarrels that I have experienced throughout my life.

Nowadays, when I hear this record, it brings me back to those times and helps me appreciate them and how they have shaped me as person. It goes without being said that it heavily ties into my current musical creativity on a daily basis.

There are so many little moments on that album that have influenced a massive amount of my own original material. 

Dylon: Red Hot Chili Peppers - Stadium Arcadium

It makes me feel like going surfing. 

The arrangement of the entire album is like no other: such a wide range of sound in one amazing package. 

Brings back memories of some of the best years of my life.

James – Sublime - Everything Under the Sun

It’s a great raw introspective into the band and who they were as people and musicians.

E.U.t.S. helps me get through the day to day better than any other album I’ve heard.

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

Be yourself! As much as you can be.

Express yourself as honestly and passionately as possible.

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).

Reggie: Most Beautiful Girl (In the Room) - Flight of the Conchords

Dylon: Bankrobber - The Clash

James: So Aware - John Brown’s Body

Walker: Sundown Syndrome - Tame Impala

_________

Follow The Ellameno Beat

FEATURE: Modern Songwriting: All You Need Is Love?

FEATURE: 

PHOTO CREDIT: Unsplash

Modern Songwriting: All You Need Is Love?

________

THAT seems like a question with a rather simple answer but…

IN THIS PHOTO: The Beatles (1967)/PHOTO CREDIT: David Magnus

in terms of music: is the subject of love being run dry?! The reason I raise the point is because, it seems, songwriting is becoming very limited and homogenised - certainty in the mainstream. I know there are plenty of artists who take the focus elsewhere but I feel too many rely on relationships and their own concerns to get people listening. I understand that adage of writing about what you know: if you are too out-there or step into uncharted territory – as a new artist, it can be hazardous and foolhardy. It is depressing seeing so many established artist fail to push beyond the obvious and really engage with the outside world. I am listening to albums at the moment – Dizzee Rascal’s Raskit and Arcade Fire’s Everything Now – that tackles the world at large and issues around society, materialism and the media. There are songs about politics, social media and rivalry – very little concerning relationships and gripes. I guess, genres like Grime and Rap, are more synonymous with social commentary. There is braggadocio and a sense of confidence: songs tend to look outward and are less concerned with traditional themes. Even when the best of the mainstream speak about love; it is done with a lot more wit and originality than most. I am a bit bored seeing the same songs about guilty partners and the sorrow of heartbreak. It sounds heartless but it is one of those subjects that has been exhausted and covered for decades. Go back to the early-1960s and bands like The Beatles presented love in rather charming and innocent terms. Later albums looked at relationships with a mix of the caustic and impassioned. Even when the world’s finest band were at their height; they were never compromising and, when singing of love, brought new dimensions and possibilities to it. Now, these many years down the line, it seems talking of love has reached a sort of plateau. I feel, if you are going to assess a breakup or romance, to be cautious and present it with some sort of variation and new angle. It is all well writing about something that personal but avoiding cliché lyrics and tropes is essential.

PHOTO CREDIT: Unsplash

I guess it is the making of the mainstream and Pop that leads me to this anger. I am willing to embrace these artists but their palette and imagination is so moulded and aimed at the teen market – there is little manoeuvrability for anything apart from love and relations. I feel, if one is going to write about love, at least set your sights a bit wider. Some of the greatest songs have been about love but, in truth, how easy it is mining gold from an area that, over the decades, has been well represented?! I get a little weary when I get sent songs that talk of broken hearts and the imbalance in relationships. The best artists, many I have recently reviewed, take relations and give them new dynamics. From Sasha Brown’s Parallel to Polar Eyes (reviewed today) – it is possible to stick with tradition but sprinkle something unique and interesting in. I find, especially now, some of the best albums hardly touch upon love. Perhaps my inexperience in the area - relationships and writing about them – has created subjectiveness but, if an artist relies too heavily on ‘easy answers’, it creates something stodgy and formulaic. Yes, created a couple of tracks about a relationship – whether good or bad – but move on. The emotion of love is a powerful thing and – to answer the question I set in the header – we should be using it to add colour and passion to problems in the world. I come across artists who are thankful for life and every moment; the good that is out there and how the positive outweighs the negative. Even if one does not have that mindset – and is a glass-half-full type – there are avenues they can explore. If you are coming straight into music, there is that difficulty understanding what the market wants and the type of song that will capture the heart. It is too tempting going to the relationship well and writing about that. Even if you are not going through a split; I am seeing lots of artists still writing about that topic – coming from a fictional viewpoint. It seems the mass market and mainstream is misleading a lot of artists.

PHOTO CREDIT: Unsplash

I feel getting away from that pre-teen demographic is something that needs to be done in order for music to evolve and grow. All the times you get a guitar-wielding act singing about their girl/boy and the pain of being dumped – it can get very angering and plodding. Even when one hears a positive and happy love song: it is still very personal and not that likely to engage and hold many past the initial listener. I agree, if one gets the recipe right, it can lead to something incredible and transformative. For every artist that gets close to something spellbinding: there are dozens that write something asinine, bland and empty. Love, as I said, is a powerful weapon that should not be messed with. I guess everyone has to face the painful sting of a break-up but that does not mean it needs to go down in music. Most people are just as able to relate to any other subject other than love – the assumption being relationships are the most common currency and, therefore, the most profitable. Give the events that have transpired and unfolded the last few months: why not write about them and apply something uplifting and positive to that?! The fact the British people have shown resolve and strong souls – after terrorist attacks and political divisions – is an area that is ripe for representation. Hearing an album like Dizzee Rascal’s Raskit and it appears the Grime king is still not bothered about petty relationships and moaning. His flows are as ice-cool and gifted as back on his debut. He is one of the most assured and talented rappers around. Always intelligent, sharp and on-point. Other genres have different sounds but my point is someone like Dizzee has a broad set of inspirations: the people around him and technology taking over; the competition dissing him and Britain’s changing face. There are moments of humour and savagery: wicked put-downs and moments of genuine introspection. As such, one gets an original and deep album. I mentioned Arcade Fire and their forthcoming, Everything Now. That has a social, political and wide-ranging mentality that, unsurprisingly, is seeing critics drool and hyperventilate with delight.

PHOTO CREDIT: Unsplash

The only way music is going to remain compelling and evolving is it is kept broad and surprising. We need that core of love/relationships but it seems too many mainstream and new artists fall back on it – and rely on it as their staple. The world is a complex, ever-changing and inspiring that provides endless lexicon and seduction for songwriters. Few are getting out their torches and searching beyond their own bedroom. I hardly think it is coincidence the best albums being created right now are talking about what is going on in the world and issues that are much deeper than individual relationship – or, at the very least, showing a more broad-minded and interesting approach to songwriting. Many of those legendary and historic albums – Fleetwood Mac’s Rumours among them – talked of love and its intricacies and complexities. People get it into their head they can create something as profound or the people want to hear that all the time. The world has changed and music is a way of taking people to new places – introducing them to new themes and possibilities. If a songwriter cannot get past the bedroom door and seeks sympathy; stressing and casting blame to their former lovers – it can be quite unnerving and uncomfortable for the listener. The love song is a good way to connect with listeners and display empathy – find common-ground and speak to them. For those, like myself, who have not gone through a break-up; that kind of music can get cloying and overly-familiar. Maybe I cannot understand the pains and fall-out from a split but, to be honest, I don’t really need to. I approach music as a way of learning about an artist and what makes them tick. If that is failed romance or the joys of love then good for them. I want to discover more and have my imagination and mind nourished. The best and most memorable songs are those that take my surprise and take my thoughts in new and wonderful directions. For every God Only Knows there are thousand of wannabe songwriters who are creating songs a-hundredth as affecting and special. I am not down on love but know it is a potent and universal sensation that has a lot more malleability and profitability than most artists give it credit for. Get out of that mainstream quicksand and do not be afraid to take risks with songwriting. Later, I am writing a piece that looks at those critic-proof albums: those near-perfect that are immune to detraction. Most on the list earn this honour because they are original and timeless. If you are too concerned with your own thoughts and relations: how likely will the music succeed and delight years from now?! Love is something destructive and wonderful; it is capable of lifting souls and changing lives. It can be enigmatic and simple; it can take various guises and come when you least expect it. As much as anything, it is a nimble beast that has the eagerness and fuel to tread new ground and venture into wonderful music side-streets. The finest artists understand this but there is a growing mass that seems unwilling to bend against ‘convention’. Love is a very powerful and wonderful thing so, when it comes to songwriting, why don’t we…

PHOTO CREDIT: Unsplas

MAKE the most of every drop?!

TRACK REVIEW: Laurel Laxxes (ft. Angie Hudson) - Polar Eyes

TRACK REVIEW:

 

Laurel Laxxes (ft. Angie Hudson)

 Polar Eyes

 

9.6/10

 

Cover2.jpg

 Polar Eyes is available at:

https://soundcloud.com/laurellaxxes/polar-eyes-feat-angie-husdon

GENRE:

Electronic

ORIGIN:

Portsmouth, U.K.; Byron Bay, Australia

RELEASE DATE:

May 2017

Produced by Nicholas Cummins and Jack Prest

Mastered by Ben Feggans

_______

ONE has much to ponder in this review so it is…

best we get down to things. I shall come to look at a great new song in Polar Eyes, later, but, for the moment, wanted to raise a few points. The first relates to social media and official websites; moving onto Australia and the great music that is coming from the country. Then, considering Laurel Laxxes, I wanted to look at those who relocate to the U.K.; a glimpse at Australia and the idyllic areas one can create; Electronic songs and a different flavour for summer; collaborations and getting that blend just right – a little bit about consistency and artists taking their first steps. Looking at both artists featured on Polar Eyes and, whilst different, have separate approaches to marketing and their social media feeds. Their fan numbers are different and, whilst not pertinent to the music, are striking and good-looking folk. One would like to see more images of Laurel Laxxes (Nicholas Cummins) as he is a handsome fella but, more than that, provides an insight into their world – what the artist looks like. It might not sound important – and something I raise quite a bit – but I feel there are so many different aspects to consider when it comes to success. Yesterday, I interviewed Lauran Hibberd who is based on the Isle of Wight but is what I am talking about – in terms of the way she brands herself. Her official website – one can check her out in their free time – is perfect. It has all her social media links in one places and is very well-designed. In an age, she said, when people are glued to their iPhones and social media – many do not take the time to tailor their website to those who appreciate the aesthetic and deep. Maybe that is a problem in modern society: we are all too engrossed in technology and assume many do not want to see photos or more detail. Laurel Laxxes is an artist with a fascinating sound/story: having that on an all-purpose official website would be great. Getting a few photo shoots organised – maybe, twenty-or-so shot – would be great and, in many cases, quite affordable. I could slice them into the review and would make it look fuller.

Again, perhaps considering putting videos/biography on that site and telling his story. I know Laurel Laxxes has the benefits of P.R. and has a press release – a professional website would add something and get the social media numbers climbing. At present, he has a modest following on Twitter but is someone who deserves a lot more. The photos I am provided of Laxxes are great but he has a great face and someone who would suit some awesome shoots. Take Angie Hudson, who is a little different. She has her official website (link at the foot of this review) and lots of live shots – some great portraits. The two artists are different but both have their merits. If Laxxes would see rewards from having a site like Hudson’s – and putting more onto his social media – she, in turn, might be envious, to an extent, of his story and bravery – I shall come to that soon. Like I say; it might not seem like a biggie but, having come from interviewing Lauran yesterday and I saw such a treat for the eyes – lots of information, links and details that made the interview so full and beautiful. I feel, in a lot of ways, it can be the difference between a minor and major success – backing that up with terrific music and keeping fans updated. That is another thing one must consider: ensuring you push music and updates to the social media throngs. By informing the punters of going-ons and all the latest happenings; they are likely to stay with you and remain for the long-term. We are in an age when attention-spans are shortened and everyone wants something quick and easy. There is little time to read and go into depth – bad news for me! – but I feel this should change. One is only like that because journalists/artists are fuelling that. I feel we need to get out of this mindset and actually spend more time reading, looking at music closely and becoming involved in artists. Laurel Laxxes, as I said, is a fantastic talent and someone who will go a long way. If he manages to put together a full official website – keeping with the P.R. team/side of things.

I might come back to this in closing but, right now, onto Australia and music coming from there. Nicholas Cummins’ alter ego hails from Australia but he has recently moved to Gosport. I will allude to that but, considering Laxxes and Hudson hails from the great nation; a little exposition about the music from there. I am fascinated by Australia and the music – and the way the country is run. We assume, maybe cliché, Australia is ultra-laid-back and has that very casual approach to life and the arts. If we think about those stereotyped images: we think of the Australian as being very matey and rough-around-the-edges. Knowing Australians, and the reality of the people, I feel there needs to be reappropriation. I know a band from Adelaide and a couple of musicians from Perth; Sydney and Melbourne-based acts and someone from down Hobart-way. Every part of the nation breeds a different personality and style of music. If one is not hooked by the cosmopolitan and fascinating history of Melbourne; one can traverse to Sydney and the beaches and a distinct vibe. Up to, say Perth or Brisbane, and one is greeted with a different sensation/feel. Australia is such a rich and varied country – this is reflected in the music coming out of there. The nation seems to get ignored by the mainstream press here (and the U.S.) to an extent. There is that feeling it is a nation not as productive and quality-laden. That is a falsehood as Melbourne’s GL evokes memories of Blondie in their heydey. They have a bit of Madonna to them and the duo has been impressing critics in the city for a while – expect them to rise and hit it big. DMA’S are three lads from Sydney that evoke sensations of our Britpop period. There is that Oasis-esque swagger and an uplifting sound that needs to come over here and wash away the rain. Basenji is a Sydney synth.-creator who has big sounds and played sold-out shows in the U.S. in 2015. If one wants a colourful collective then look no further than Safia. They hail from Canberra and have hooked up with top Australian artists like Peking Duk and Alison Wonderland. Creators of some seriously fine and nuanced music – another band primed for longevity and success. That is just a cursory peek into bands/acts who are putting Australia in the mindset.

Angie.jpg

I feel the media out there are being a bit lacklustre there and not really doing quite as much as they should. One of my ambitions is to go to Melbourne and, perhaps, work there one day. I wonder how strong the music media is over there. I know there are great journalists but what about the press and website around the city? I have not seen many online rundowns of the best Melbourne artists for a couple of years now – same goes for Sydney and other areas. Talking to Australians and I am made aware how different Melbourne is to Sydney. I plump for the former because of the people (a bit more laid-back and not quite as ‘judgey’, I have been told) and the incredible music. Sydney has that incredible geography and some incredible Indie bands. I find I there are some incredible Soul/Alternative acts in areas like Brisbane and some wonderful artists working around Canberra. It seems strange there are not more options for people like me – wanting to get a handle on all the rich array of acts in the country. Regardless, and the reason I bring this up, is to show how essential that is. Australia is a nation that continues to amaze and impress me. Laurel Laxxes, who I shall come to soon, is someone who has come over here – one wonders whether there are greater opportunities/better support in the U.K. It is something to ponder, in addition to perusing study, moving from somewhere as clement and stunning as Australia – to Portsmouth – is a big shift. I will come to look at aspects around Angie Hudson and where Laurel Laxxes left but, looking at Hudson, she is someone who seems perfectly suited to Australia. Part of a trio – drummer Freyja Hooper and bassist Shaun Johnston – she creates soulful blends that remind one of Sade and Norah Jones. There is a huskiness and sweetness that makes her voice a veritable cocktail of emotions. She performed sold-out shows at Byron Bay Falls Festival and supported Berlin Disco-Pop outfit, Parcels. There was a huge reaction and, as she put together her debut release, a great chance to gauge feedback. That sultry voice and alluring set of lyrics is matched by a musicianship and confidence that is already turning heads. She should be on a ‘Ones to Watch’ list and, let’s hope, the journalists of Australia galvanise and create something for people like me – who wants to get to the heart of music there. I am fascinated by the dynamic and intricacies of cities like Sydney but know Australia is vast and wide-ranging – plenty of other towns and cities have a valid and eclectic music scene.

PHOTO CREDIT: @Yaniclarkephotography

I will definitely expend more thought on this aspect soon but, first, a look at Laurel Laxxes as a case study. As I said; he has moved to the U.K. to study a course in Portsmouth/Gosport. One thinks about that immigration and it shows bravery and boldness. Aside from the fact Portsmouth is about as far from a typical view of Australia as I perceive makes the move sound rather unattractive. That said, there are the chances here to build a career and enrol in a scholarship – which is what Nicholas Cummins is doing. His Laurel Laxxes moniker intends to release material of all flavours in the coming months. Having an educational foundation and new instruction will go into his music – a broader palette and new elements he can bring in. Polar Eyes, as we will see, is a stunning example of where he is but, one suspects, he will drop something (new) very soon. I am excited about Laurel Laxxes because he is a courageous and exciting man. He hails from Bonny Hills and, looking at it, you’d be forgiven were you to be jealous of the jammy sod. It is about half-hour from Port Macquarie – seriously: Google that place! – and a slice of Paradise. I think there is a surf club in Bonny Hills but it is quite modest in terms of amenities and the music scene. Although it is located close to bigger towns; it might seem a bit detached and isolated. I can, therefore, see why a U.K. move is appealing. Being situated in Gosport/Portsmouth; he has an easy jaunt to Southampton but, if tempted, a short train hop to Brighton. London is not too far away so he has some incredible places nearby. That will be useful when he needs to perform and showcase new material. I find it is really brave relocating anywhere but, being so far from home, it needs to work – luckily, the young artist has a game plan that seems very sound.

He wants to learn more and build on his foundations as a producer/writer/performer. He will get a great education here and meet a lot of like-minded people. Not to bang on about the looks of the man – jealous, or what?! – but his music and looks will turn heads. Not that one should equate sexuality and attractiveness to music success but he will fit in very well – popular because of his multiple charms and zeal for music. Now, literally right now, the weather is complete shite but it looks like it MIGHT warm up. I guess we associate Australia as being ever-sunny but, comparing the nations, there is not a huge amount in common. Australia, for a musician, must seem a bit fraught and tricky. I feel there are some wonderful acts there that have fewer opportunities than they would here. Maybe Laurel Laxxes is an artist we will see on our shores for years to come. He would love a life in Brighton or London. Brighton, because of the beach, The Lanes – a colourful shopping street (set of, actually), and the mix of cultures and people. Then London, with its beating heart of terrific music, might tempt him. He would forge a great career here and find plenty of opportunities. He might favour the more relaxed pace of Manchester. It is a city that has a terrific music scene and is reputed as being one of the most appealing areas of the U.K. Regardless of his studies and future aims; he will enjoy it here and would be great if he moved to one of the larger cities. We are always looking for new artists with a fresh dynamic: Laurel Laxxes has this in spades and can inject fresh life into the London Electronic scene that is for sure. Relocating anywhere is always heavy with uncertainty and emotion but it seems Britain is a good fit for the hungry Australian. Laurel Laxxes, whilst here, will be able to collaborate with many artists and have plenty of radio stations willing to play his music.

Switching things to Angie Hudson and, unlike her country-mate Nicholas Cummins, might not have any reason to come to the U.K. She is taking a different approach to music and seems set where she is. In fact, looking at her and the music she puts out, she has a great chance of affecting change in Australia. Not only is she stunning and mesmeric – those Australian genes and the sunny climate – but has one of those unique voices one falls in love with. As a musician, it seems she is set in her trio but keen to fuse her talents with other artists here and there. She perfectly bonds with Laurel Laxxes and is able to step into new genres – an artist who understands what a writer is saying and can assimilate and adapt with so much ease. That chameleon-like quality is a rarity. Let’s hope we get a chance to see Hudson over here as she seems like a young woman with a golden career looming. Mammal Sounds is the P.R. company that brought me to Laurel Laxxes’ attention. I am not sure whether he runs it or is represented by then but, like Angie Hudson, one can be very jealous by reading an address. I review artists from London and, whilst envious they are making great music, can commute to the capital and am very familiar with its diversity and various areas. Reading the address of Mammal Sounds – Beach Road, Bondi Beach – and, in addition to getting plenty of ‘beach’ for your dollar, just KNOW it is going to be perfect. In fact, it is. Not only does one have that legendary beach near-by but so many bright and trendy restaurants and shops. It is a mix of London and Brighton’s best points – the quirkiness and class; a young population and vibrancy – but a young and energetic crowd. Maybe it falls into a cliché view we have of Australia but it seems like a perfect place to work and live.

Bondi Beach, to even visit there, would be a mind-opening and vivid experience that would linger in the mind for years. Not only does one have the endless array of bronzed bodies and white smiles: there is that extraordinary view and access to a part of Australia that provides so many opportunities and wonders. Byron Bay, in New South Wales, is a ninety-minute flight from Bondi Beach but seems like has the same mix of delicacies and treasures. Famed for its surfing and wonderful beaches; there is a three-day festival in the heart of Byron Shire that will draw in the crowds. Once considered countercultural; the area is seeing an influx of big brands looking to merchandise and monetise the festival. It might be media scaremongering but let’s hope the purity and virginity of the festival is not sullied by the leering hands of marketing men – all looking to put their filthy hands down the top of a proud and authentic festival. I digress but, apart from that concern, Angie Hudson seems to be in a part of the world perfectly suited to her needs. I can well imagine where that sultry and chocolate-rich voice comes from. I know there are some great Soul-type artists around the Byron Bay area but it is the way of life there – a more relaxed place and the near-tropical peace of the place – that goes into chilled, sumptuous and incredible music. Perhaps it is the background and geography of Byron Bay that enforced her vocal on Laurel Laxxes’ Polar Eyes. Against the tide of summery bangers one might experience in Sydney and Melbourne: there is a more alluring and seductive vibe around Byron Bay. There is a clash of modern, young and fashionable; the calm, classic and peaceful in Byron Bay. Not only is there that music festival and flow of impassioned and surf-seeking bodies: one has a chance to retreat from the rush and take a stroll surrounded by lush grass and panoramic views. Hudson is one of the most impressive artists in the area and seems to be finding lots of chances to shine. The fact Laurel Laxxes and Angie Hudson are from Australia – but two different areas of the nation – seems to, in a wonderful way, define and explain the song, Polar Eyes.

I am being wordy so shall wrap this section up with a bit about Electronic songs and their profligacy. I am hearing a lot of summer-ready Electronic jams that seem beach-prepared. The sounds are bountiful, sexy and curvaceous. It seems there is that need to aim for those hitting the clubs and flocking to the beach-side bars. Maybe this is the way Electronic music is going. Too many artists instantly go for the jugular. The need to get people sweating, dancing and jumping is not the most effective way of promulgating the form. Sure, it is important to have those anthems and bangers but there is so much richness one can yield from Electronic music. Consider a song like Polar Eyes and its title alone indicates the sort of tones one will experience. There is nothing as glacial and Icelandic as, say, Björk’s Medúlla – but it is closer than you’d imagine. We hear great Electronic/Alternative artists like the xx who are closer in spirit to Laurel Laxxes and Angie Hudson than the club-heading tunes that litter the charts. It seems there is divisionism between the hot and sassy bangers and the chilled and deeper dimensions of Electronic. It is good to have a varied culture but it seems there is little crossover and communion. One either hears the sweat-dripping, tongues-enraptured-and-tied-in-drunken-ecstasy or the more pontificated, cultured and temporised version. Polemic, spectrum-opposite and sharing little common D.N.A. – does there need to be a greater campaign to get these disparate away from a Venn Diagram intersect and more, well, fraternal?! I am a bigger fan of the likes of Polar Eyes because it has its eyes on the summer but does not shout about it. In a way, you can define Electronic music by areas and times of day. There is the Ibiza/Hacienda club vibe that comes out during the day and seems to sport little fatigue when the sun goes down. Then there is the other side which is best suited to Los Angeles or London – when the lights go down and you want something more contemplative and demure. I feel there are very few who add any sort of nuance and emotion into Electronic music. Markets demand sounds that cut to the core and get the people involved but, as we can see with the likes of the xx, a richer vein to be mined when you take the volume down and add more personality/emotion.

This is an area I will touch on later but will end with a bit about Hudson and Laxxes and how they are starting out at the moment. They are two artists that are making their embryonic steps but are two of the more exciting artists I have encountered. Both are bright, passionate and instilled with incredible talent – I am keen to see where they head from here. Laurel Laxxes is in the U.K. and will be releasing new material very soon. I am not sure whether his music will continue along the Electronic route but I am sure there will be new technical and compositional textures approaching. Hudson, still in Australia, has that incredible backdrop and an area that is inspiring her mind and fostering a wonderful young woman. I am excited to see how her new material will sound and whether she will do any more collaborations. I feel the collaborations are too common and there are so many songs that suffer because of it. Every time I peruse a Spotify playlist on a Friday, one is greeted with endless collaborations. It seems new artists, mostly Rap/Urban acts, feel the need to throw needless bodies into the mix. I am not sure why collaborations are so popular and whether anything is genuinely added to the music but I am finding too many songs ruined and overcrowded. A lot of times, it is c cynical move to get streams up and appeal to the marketing side of music – put big names into a song and you get more hits, money and attention. It is a cheap and cynical aspect of music I would like to see less of. If a collaboration is pure of intent and right; that can lead to something magical. That is why Laurel Laxxes and Angie Hudson’s hook-up is perfect. Laxxes had the idea and song already but, when Hudson came along, things changed. In explaining the song; the artist assessed it in these terms:

“I was bored to death of hearing tropical bangers and wanted to write a moodier, more reverb-soaked tune that reflected where I was mentally. The juxtaposition of the faster paced beat against the brooding guitars and synth patches is the end result of the uncertainty and emotional fluctuation I was feeling while writing alone in my studio. I wanted to create something that was both distant and intrusive at the same time”.

PHOTO CREDIT: @freyjahooper

When talking about Hudson’s input and why she was so essential:

“She picked up a moody, pensive vibe from the track and sent me her ideas for the melodies. The lyrics are about viewing a deteriorating relationship between two people from the outside, but also being directly affected by what happens in it at the same time. Being both involved but removed can create a confusing, ethereal feeling which we tried to capture in the performance of the vocals”.

The song, initially was more sonic and conceptual until that arranged marriage of Laurel Laxxes and Angie Hudson. Bringing her take to the song; Hudson was essential getting the song to where it was – her way of life and musical style brilliantly fusing with Laurel Laxxes’ mindset:

“Angie and I decided to name to the song ‘Polar Eyes’ because the song is about viewing a relationship between two people that you care about from the outside. Seeing the contradicting ways they act towards each other and witnessing the positive and negative habits of their behaviour and actions”.

Polar Eyes, aside from its wordplay (‘polarise’); projects arctic tundra and a steely gaze – maybe a commentary on Electronic music or the polar differences and divisions in a relationship. I am buoyed to see two like-minded individuals combine because it is what the collaboration should be about.

PHOTO CREDIT: @_m_n_em_

Eeriness, beauty and intrigue open the song. There is something scratchy – like a vinyl playing – and some punchy beats. That build-up is cinematic and quite intense. One hears whispers and snatches of sounds; like you are in the city after dark and awed by the silence – with a few crackles of light and traffic here and there. The song starts to build and rush as those punctuated and tense beats volumise and intensify. “How does it feel/When you have it all?” asks Hudson. The heroine, maybe speaking about love and the battles in love, asks what it is like when they (he) wins the war. One hears embers of Norah Jones in her voice. You get the same smooth and sensual blend; a rawness underneath it that juxtaposes the tenser and more street-ready ruffle of the beats and electronics. Befitting of the song’s title; it seems there are polar aspects and dynamics that combine with ease. Hudson’s voice is perfect for Laurel Laxxes’ teasing and promising sounds. It is a song that creates curiosity and wonder from the off. That vocal of Hudson’s is soft and playful but has an intensity and direction to it. Maybe she is speaking from experience but it seems like clashes in love are in her mind. The pensive and moody composition could be given a different take and ruined. Maybe a vocalist would come in and make the performance too intense and rushed. Hudson, in the way Portishead can make a song sound dangerous and edgy, creates something malevolent and beautiful at the same time. There is that tease and creep to the voice – the heroine licking her lips and judging the hero – but there is so much passion and velvet to her tones. Perhaps she is watching from the outside and seeing how there is this capriciousness in the relationship.

Polar Eyes is ever-more apt when considering the slight steel and cool breezing from Hudson. She takes her times and projects an elongated and refined vocal. In the back, Laxxes’ production and composition elements project a physicality and dream-like haze. One need only look at Angie Hudson and she has that intoxicating look and demeanour. Someone who would not take any crap in a relationship but has a warmth and allure that is hard to ignore. Bringing all this to the song – and her training in Soul – to produce a stunning and assured performance. Shimmering, contrasting and emotive – a track that builds images and seems more familiar and relatable as time elapses. “Drink your wine” is an instruction that seems born of a sense of weariness and detachment. Maybe, in a relationship, there is a lack of communication and too much routine. Not expressing what we should and being closed-off at times. Whatever the true origin of the song; it is clear the lyrics emanate from a very personal place. Maybe Laurel Laxxes and Angie Hudson have been in relationships where there have been good and bad days. It is easy to judge from the outside but, in a way, it provides fresh perspective. One is not immersed in the thick of it so has a clearer head. To me, I got a window into a love that was going through the motions. Perhaps there are arguments and rough days but there is a lot of love too. I like how the song becomes very impassioned and dramatic. The composition rises and there are so many different colours emerging. There is tip-toeing and doors are being closed. It seems there is secretiveness and indiscretion – maybe not wanting to speak to their lover or hide something. The composition tosses some lighter beats and melting electronics. The textures change colour and the backdrop gets warmer and more varied. Hudson’s voice continues to impress and extract every ounce of emotion one could hope for.

As the song reaches it latter stages; Polar Eyes does not get any less intrigued and stunning. The composition is never flat and insipid – like so many Electronic tracks do – and has so many shades. The beats are tight and bubbling one moment; strident and causal in others. The electronics fizz and then vibrate; there are other elements that create all sorts of images and possibilities. Hudson allows her voice to sway and hover when needed: it gets tighter and more intense when she is in accusatory and defensive mode. It seems like there are secrets being kept. The heroine does not want to be in the thick of things and needs life to change. The bond is too unpredictable and it is causing problems. In all of this, there is sweetness and light. Hudson’s voice rises and shows its full array. One is impressed by its beauty and adaptability. She can be the girl the man wants but, it seems, there is blame on his side. Not fitting into his moulds is important. She is living her life and has ideals of how the relationship should be. Maybe Hudson is purely an outsider who is viewing things with her own perspective. Lyrics that talk of future houses and perceived lives suggest she is involved - maybe speaking from the viewpoint of the song’s heroine. It is interesting listening to the narrative and the kind of ideas expressed. By the end – when the electronics come down and there is that last roll of the dice – one sits back and comes to their own conclusion. Clearly, Polar Eyes is about the clashing personalities and unpredictable nature of love. I wonder how much of their own stories Laurel Laxxes and Angie Hudson brought to the song. One hears a very personal and meaningful performance from each. It is a marvellous and accomplished song from two artists, different in style, are perfect compatriots here.

I will end this now and look back at some points I raised earlier. Sounds of Polar Eyes were sampled from the bedroom of Laurel Laxxes; the song, Polar Eyes, looks at differences in relationships and the ways we look at one another. I am fascinated by the multi-purpose title and what it represented. The ‘Eyes’ part of the title is about us looking and, ‘Polar’, a mix of the cold and diverse. ‘Polarise’, if you compartmentalised and combined, seems to assess the song perfectly: the vast differences in emotions and complexities of a relationship. Regardless of what you take away from the title; the song itself is a stunning and revelatory one from Laurel Laxxes. He is a talent I am keen to follow and he (Nicholas Cummins) is adapting to like in the U.K. His adopted home is going to be a bit of an experience all round. I know, as he is studying right now, his mind will be immersed in discovery and music – if he gets a chance to explore the country, he will find new inspiration and motivation. I have mentioned cities like Manchester and London – both seem like places he could perform and feel very comfortable in. Angie Hudson, thousands of miles away, is in Australia and (is) resplendent and captivating. Her voice and music is sure to turn heads and, let’s hope, she has a chance to come to the U.K. soon. I would be reluctant to move from Byron Bay as it seems like somewhere one could feel relaxed in forever. It has enough opportunities and hotspots to keep her interested and she is close to some of the bigger cities in Australia. I am not sure whether the two will combine their voices in the future but it would be good to see. Hudson has her own releases – Laxxes here and busy studying – so maybe a physical collaboration might not be practical for now. I will end this by looking back at some of the points I raised earlier: Australia and its merits; collaborations and getting that right; making Electronic music more diverse and less commercial.

 

The nation of Australia has always been open to ridicule and close-the-knuckle judgement. We still have that idea of the country as being a little crude and simplistic. This is born from poor perceptions and naivety – a judgement one levies without visiting the nation. Get more involved with the people, history and music and one not only discovers friendly, warm and witty people – the culture there is exceptional. I bemoaned the fact journalists are ignoring their local talent and not pushing it out to the world. There is a stunning and full programme of music in Australia; some terrific artists and a market that is as diverse and stunning as any. I feel Australian music can match it with the U.S. and U.K. Whilst there are mainstream and huge stations in both nations – is this the case with Australia? I hear a lot of Australian music through shows like Neighbours but not as much via radio. It is a shame because there are wonderful bands and artists coming from the country. We hear Australian mainstream artists but not too many unsigned artists. The nation is a wonderful boiling pot for various sounds and genres. I would like to see the national media being more proactive and pushing its finest musicians to the world. Laurel Laxxes and Angie Hudson are two of the finest artists in the country at the moment. I hope both get proper exposure and a chance to get gigs/airplay around the world. Having Laurel Laxxes and Angie Hudson joining forces has been a wonderful realisation. I am not sure how they found one another but I am fascinated hearing them together. It seems like they of one mind when it comes to collaborations. I think a lot of artists toss an array of names into a song and it distills and pollutes a song. It can get very unfocused and one queries whether there is a lot of wasted talent in the mix. The best collaborations are usually between two people/artists and done for the right reasons.

Hearing two different artists blend on Polar Eyes means the song is richer than it might have been – was it a solo venture – but is a great showcase for both artists. I am interested in Laurel Laxxes and what course his career will take – whether he stays here or goes back to Australia. Angie Hudson is forging a promising career and has potential to record and succeed for many years. It seems natural they found one another but it is the fact Hudson brought her own ideas to the song that made it what it is. She, as an outsider, brought a fresh perspective to Polar Eyes. Both brought their personalities into the song and, as such, it is stronger for it. Were it just Laurel Laxxes, it might be crying out for that soulful and feminine vocal. It is a song slightly foreign to Hudson who tends to create music a little more soulful and acoustic. Between them; they have produced a track that adds something genuinely fresh to Electronic music. I feel both were aggravated by the fact Electronic music seems to be defined by thumping, bass-heavy bang. It does not need to be as unsophisticated and direct. Polar Eyes is a track with urgency but it is its coolness and allure that gets to me. Reminding me of the xx, in many ways, one gets something new and refreshing. There is compartmentalisation and divisions in the Electronic genre which seems a shame. Maybe there is too much commercialism and that needs reviewing. Let’s see whether that changes but, for now, I am delighted hearing people like Laurel Laxxes speak out and take action. With Angie Hudson; the duo has crafted a song that speaks volumes and will kick-start a new stage in both their careers. I do hope, when the dust clears, they will…

WORK together again.

_______

Follow Laurel Laxxxes

FEATURE: The Album Round-Up

FEATURE:

IN THIS PHOTO: Dizzee Rascal/PHOTO CREDIT: Steven M. Wiggins/Inside Slash Out PR 

The Album Round-Up

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IN an unlikely-to-be-weekly-series; I bring the best albums of the week…

IN THIS PHOTO: Lana Del Rey/PHOTO CREDIT: Kurt Iswarienko (for The New York Times)

into one handy, bite-sized feature. There are some big ones out this week. I bring together Declan McKenna’s What Do You Think About the Car? and Lana Del Rey’s Lust for Life. Included is Paul Heaton and Jacqui Abbot’s Crooked Calypso and Foster the People’s Sacred Hearts Club. A little bit of Dizzee Rascal’s Raskit thrown into the mix.

A sturdy and impressive collection of albums that should, if you delve into each, cater to broad and varied tastes…

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Declan McKenna – What Do You Think About the Car?

Label: Columbia Records

Genre: Alternative; Indie

What Are the Critics are Saying?

The Guardian:

“They are protest songs, but sound anything but worthy or world-weary. Instead, they are sun-soaked aural fizz bombs which channel indie rock through his love of David Bowie and Abba. His effervescent anthems are packed with detail, from electro squiggles to children’s voices, and he saves one of his best choruses for The Kids Don’t Wanna Come Home, in which he packs the anger, fear, alienation and glimmering flames of hope of Generation Z into a euphoric, uplifting pop construction”.

NME:

“On debut album ‘What Do You Think About The Car?’, there’s swagger to McKenna’s delivery but no cockiness. Instead, he narrates his innermost feelings on everything from politics (‘Isombard’) to the media’s treatment of transgender suicide (‘Paracetamol’) with subtlety and skill. Standout ‘Make Me Your Queen’ is a rare moment of intimacy as he laments the ache of unrequited love, again with a delicacy and wisdom beyond his years”.


DOWNLOAD: Humungous; The Kids Don’t Want to Come Home; Make Me Your Queen; Paracetamol

STANDOUT TRACK: Brazil

Lana Del Rey – Lust for Life

Label: Interscope Records

Recorded: 2015-'17

Producers: Lana Del Rey; Ricky Nowels; Benny Blanco; Boi-1da; Emile Haynie

Genres: Alternative/Indie; Rock; Pop

What Are the Critics are Saying?

Variety:

“All this positivity is balanced with a healthy, or unhealthy, dose of depressive Del Rey — the old Lana who’s chronically prone to sleeping with ne’er-do-wells and maybe dreaming of sleeping with the fishes, too. The lure of bad boys keeps Del Rey in her tranquilized state in the entrancingly dysfunctional stretch of the album that runs from “Cherry” and “White Mustang” through “In My Feelings”.

The Guardian:

“While many of the song titles and clumsy references may have a discerning music fan scoffing at Del Rey’s predictability, there remains an admirably unflinching quality to this record (even if it is five tracks too long). She has evolved elements of her once disturbing narrative, and her ardent fanbase will detect clear leaps made since her debut. But, in the current climate of laborious genre-hopping and guest vocals on throwaway chart tracks, Del Rey has remained a mystery. She is consistent in her aesthetic, adding zeitgeisty elements to her sound without being dictated by them”.

The New York Times:

“And she closes the album with “Get Free,” which hints at both old girl-group songs and Radiohead’s “Creep” as she resolves to dump someone: “I was not discerning/and you as we found out were not in your right mind.” The usual melancholy is there, but so is a wink”.

The Independent:

“Like The Weeknd’s personal dark brand of R&B; Del Rey’s deliciously twisted pop fuses hip hop beats with her breathy vocal delivery; their mutual power is in their ability to keep things hidden, whilst seeming utterly explicit. It’s a heady mix to be caught up in”.

DOWNLOAD: Love; 13 Beaches; Coachella - Woodstock in My Mind; Beautiful People Beautiful Problems (ft. Stevie Nicks); Get Free

STANDOUT TRACK: Lust for Life (ft. The Weeknd)

Paul Heaton and Jacqui Abbott - Crooked Calypso

What Are the Critics are Saying?

The Guardian:

“It’s not all social justice worrying, however. On I Gotta Praise and Love Makes You Happy, the pair prove they can still effortlessly knock out the archly brash and heart-wrenchingly simple love songs that characterised their Beautiful South output. Clearly, the well of witty, interesting pop that Heaton has been drawing from throughout his career has not yet run dry”.

Hot Press:

“Stitching kitchen-sink dramas, observational comedy and pub philosopher ruminations together with feelgood music makes for an irresistible listen. Opening strongly with the gospel-steeped ‘I Gotta Praise’ and the witty, disco-flavoured ‘He Wants To’, Crooked Calypso features some of Abbott’s finest vocals (‘He Can’t Marry Her’), and Heaton’s sharpest lines (‘People Like Us’, ‘The Lord Is A White Con’). ‘Blackwater Banks’, though, is sure to be the LP’s most talked-about moment. Calling to mind Billy Joel’s ‘She’s Always A Woman To Me’, it’s a touching love letter to Ireland and destined to become a radio staple”.

DOWNLOAD: She Got the Garden; People Like Us; He Can’t Marry Her; The Future Mrs. Heaton

STANDOUT TRACK: I Gotta Praise

Foster the People - Sacred Hearts Club

Genres: Alternative; Indie

Label: Columbia Records

What Are the Critics are Saying?

A.V. Club:

“Overall, Sacred Hearts Club also signals a return to Foster The People’s more electronic origins, but not in the inventive way that was used on Torches. Rather, it comes off as hackneyed copy, full of the predictable EDM/trap beats that every other chart-topper has shoved in somewhere. It’s a deeply disappointing effort that, if there’s any consolation, could be mistaken for just about anyone”.

Evening Standard:

“Lotus Eater is three minutes of Strokesy perfection — insouciant yet incendiary. On Static Space Lover, they marry Beach Boys-style harmonies to a chunky bassline. There’s also a hint of hip-hop swagger on this record, as well as a curious club banger that references Sylvia Plath’s suicide. But these risk-taking departures are outnumbered by solidly catchy tunes that never match that breakthrough hit”.

AllMusic:

“As if to announce the new direction, they kick things off with the steamy, new wave-cum-hip-hop jam "Pay the Man," which finds Foster diving headlong into a hip-sway-inducing rap. Similarly, cuts like the stadium-sized anthem "Doing It for the Money" and the sparklingly buoyant "Sit Next to Me," with their icicle guitar hits and bubbly keyboards, bring to mind an inspired mix of '80s Tom Tom Club and Prince, with just enough modern EDM flourishes to keep things from getting too nostalgic. Along those lines, we get the spacy electro-Motown of "Static Space Lover," the buzzy, blacklight-drenched house music anthem "Loyal Like Sid & Nancy," and the sexy, crystalline, digital hip-hop and R&B flow of "Harden the Paint." Ultimately, the beauty of Sacred Hearts Club is that it sounds like a Foster the People album without unnecessarily rehashing the sound that made them famous”.

DOWNLOAD: I Love My Friends; Static Space Lover; Loyal Like Sid & Nancy

STANDOUT TRACK: Lotus Eater

Dizzee Rascal – Raskit

Raskit.jpg

Label: Island Records

Genres: Hip-Hop; Grime; Hip-House

What Are the Critics are Saying?

The Guardian:

“For all his assertions that things have changed since the days when he was “running round the manor like a hooligan”, a hint of his famed recklessness remains. Virtually everyone who isn’t Dizzee Rascal gets it in the neck, from the Tories on Everything Must Go, to old mentor turned adversary Wiley – who seems to have incurred Rascal’s wrath by trying to patch things up between them – to grime’s current crop of stars: “Too big for my boots, that’s the truth, no excuse for you new recruits, bunch of dilutes and a few flukes.” This seems a pretty risky move, but then, from its sparse sound to its defiantly un-nostalgic view of the past, Raskit is a risky album. Luckily for the man who made it, he has the skills to make the risk pay off handsomely”.

GQ:

“There’s arrogance and defiance on Raskit too. Once a grime MC, always a grime MC at heart, and there's no grime without boastful swagger. In "The Other Side", Dizzee ridicules grime’s bright young things "gassing up the dead rhymes", “fashion MCs [who] think they’re too cute”, enemies (Wiley) who won’t give his name a rest, and – a recurring theme – all the haters “acting like I never made bare grime”. (Fools!) No doubt the same critics who yearn for another Boy In Da Corner – squirming with consistent dirty beats, old-school instrumentals and every bar at 140bpm – will be disappointed by Raskit. But it’s time they stopped picking at the same scab and allowed artists to evolve and diverge from their original sound. Besides, at the core, it’s still the same old Dizzee: angry, cheeky, lonely and confident. A spokesman and an inspiration. The same old rascal”.

Pitchfork:

“Of course, if Dizzee wanted to show his affinity with American hip-hop in 2017, then releasing an album so severely need of an edit is a note-perfect move. But grime at its best is defined by its steely economy, which makes Raskit’s rambling length and diluted focus frustrating. As a platform for Dizzee's flashy lyrical dexterity, Raskitdoes more than enough to shift the bitter aftertaste of The Fifth. With more of the laser-eyed focus that marked Boy in Da Corner, it could have been a triumph”.

Clash:

“Bloated at 16 tracks, it could have been a genuinely strong EP that formed a platform for Dizzee’s return to the sound he helped birth. Alas, whether fairly or not, he appears to disagree with the notion that he should have to take time in reintroducing himself. He’s done his graft, and wants the new plaudits. But if Skepta’s recent success is anything to go by (let’s not forget that he did his fair share of work in the early days before he went pop too), it’s that you need to do more than a live stream ‘reveal’ and some branded fried chicken boxes to convince people that your heart’s back in it”.

DOWNLOAD: Wot U Gonna Do?; Space; Business Man; Dummy (16 for the Juice); Man of the Hour

STANDOUT TRACK: Everything Must Go

INTERVIEW: Lauran Hibberd

INTERVIEW: 

 Lauran Hibberd

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LIFE for a talented young musician on the Isle of Wight…

has its benefits, that’s for sure. Not only are there epic festivals on the doorsteps: Lauran Hibberd has some great musicians and producers living close by. I speak to the artist about her current E.P., Favourite Shade of Blue, and whether a snippet of a new track, Parties and Babies, will find its way into the studio. Hibberd talks about artists like Laura Marling and Feist: those who have been instrumental and influential in her formative years (right up until the present-day).

I ask about tour dates and what gigs she has coming up; a few new artists who are in her mind and, whether her bedroom – where she writes all her songs – is the perfect place to create music that has personal intimacy, deep passion and incredible moments of candour.

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

Hello! I’m good, thank you.

I’ve finished a new tune; played live for BBC introducing and bought orange dungarees - so this week has been kind to me.

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

Of course.

My name is Lauran Hibberd (Lauran with an ‘A’ - not an ‘E’).  I’ve recently turned twenty and I’m a Pop/Folk-inspired singer/songwriter living on the Isle of Wight.

Favourite Shade of Blue is your latest E.P. Can you tell me about the inspiration behind the title and have you been surprised by the reaction it has got so far?

As this was my debut E.P.; I felt a real pressure to get the title right. It had to sum up a year of my work and represent me and my debut as an artist.

So, I went around the houses and came up with titles as long as your arm… but I could never settle on one. The leading single was always going to be Favourite Shade of Blue, and then, I started reading into the title and how it could translate into so many different things.

The song itself is all about how ‘blue’ can be portrayed as a colour as well as an emotion - and how there are so many shades and layers to both of those things. So, when I thought of it like that, it completely summed up the whole ethos of the E.P.

The reaction has been great! The E.P. has been a long time coming as it took me so long to get it right (I’m a bit of a perfectionist and everything in the industry takes time) - but, I’m extremely proud of it. It was also great to have a premiere by seenlondon.com - and support from BBC Introducing and Amazing Radio. I had no expectations when releasing it - so, any press/radio/feedback was a lovely surprise.

I had an incredible reaction on a recent Facebook live-stream, also. It’s a funny thing: because I spent so long working on this E.P. - and the minute it was complete - I was on to the next thing. I’m back in the studio already; working on something new coming in September.

What kind of moments and times inspired the E.P.? It sounds like some of the songs are quite emotional and hard-going? Was it quite tough writing the tracks on the E.P.?

I’m fairly young so I’m used to feeding off other people’s experiences when it comes to writing - but these tracks strictly relate to me and my home. I’m a very free writer and often don’t realise how I’m feeling until I write a set of lyrics - but I never find it tough; always enlightening.

The concept behind the E.P. was to demonstrate the happiness that comes with sadness, to signify the purity that comes with youth - but emphasise how it slowly disappears into the unavoidable… love, loss and all that falls in-between.

I see, from social media, there is a song, Parties and Babies, taking shape. Can you tell us anything about its inspiration?

Yes!

I am so excited about this track: it’s really fun, really honest and actually quite heart-warming - despite the melodramatic title.

My sound is definitely developing. I’m now listening to a wider range of artists and really experimenting songwriting-wise. This song is a really great insight of things to come.

You just played a BBC Introducing Solent Live Longue. What was that experience like? Are the musicians who played with you there the same we hear on the Favourite Shade of Blue E.P.?

Yes, it was great fun!

It was a Bestival special and I’m lucky enough to have a Main Stage slot there this year - so it was really getting us into the spirit of things. I’m so grateful for all of BBC Introducing’s support so far. I did an acoustic session for them last year; so it was great to go back full-band.

I love playing with the band (Oli Old on Guitar, Jess Eastwood on Bass and Joe Perry on Drums). They have been with me from near-enough the start. We’re all great friends as well; which makes gigging together good fun.

The musicians that played on the E.P. were different in this case, though. A huge thank you to Chris Newnham (Guitar), Rupert Brown (Drums) and producers Boe Weaver - here on the Isle of Wight.

Your official website is informative and you have many great images. You update social media and have a very professional approach to music. Do you think that is important – and should more musicians put this sort of effort and attention in?

I think it’s super-important, especially at a time where people don’t go anywhere without an iPhone. It’s the best way to reach people… and I love it.

I like to update social media regularly - just to keep people posted, and make them feel like a part of what I’m doing. I always think, a Facebook page for a musician is like a C.V. - but a prettier one that happens to have emojis on.

Can you tell me how you got that passion for music? Were you compelled by music as a child? What kind of artists were you listening to?

I started having guitar lessons at fourteen and singing and songwriting became a huge afterthought to that - and something I didn’t really know I could do until I partnered them. I was hooked as soon I’d finished my first song.

Up until that point, my listening was whatever was on the radio… it wasn’t until I started obsessing over music that I delved into artists like Bob Dylan, Joni Mitchell and, more recently, Laura Marling and Feist.

 I believe your songs come together in your bedroom. Have you always written there and do you think that quiet and privacy leads to great songs?

Every song I have ever written has been written in that bedroom.

I think it’s just where I am most at home - and comfortable enough to write freely. I keep all of my guitars on a stand by my bed; so it may also come down to laziness! I’ve just never felt the need to take it, or try it, anywhere else.

I’m definitely a 'lone-wolf' kind of writer so the quiet and privacy definitely lends itself to that. But everyone is different: that’s just the way I have grown to go about things.

The Isle of Wight is your home. What is the place like for music? Is there a varied and busy music scene there?

The Isle of Wight is a great place to grow up and definitely a great place to write songs.

There is a music scene and it is definitely varied and definitely growing and we’re also lucky enough to have numerous festivals on our door-step. I recently supported Clean Cut Kid at a brand-new venue, Strings, so things are definitely on the up; and a lot young musicians are pioneering that.

Stations like BBC Radio 6 Music and Radio X have played your music. Has it sunk in at all – how popular and widespread your music is becoming?

It’s incredible - and always unexpected.

It’s really reassuring more than anything and is always surreal but it’s the dream job! I released my first song in December 2015 so I’m really proud of how far everything has come - and what I have built up along the way.

So...I’m just really hoping it all continues on an upward path.

I hear shades of Laura Marling in your songwriting and performances. Is she someone you admire?

Definitely. I’m a huge fan.

She really got me into the world of ‘Folk’. I’ve had her album, Alas, I Cannot Swim stuck in the C.D. player in my car for about a year now - so that’s had many a-listen!

I also went to Citadel in London to watch her recently and she did not disappoint.

Can we see you on tour anytime soon? Where might we be able to catch you?

I’m hoping to tour early next year, actually; I have a few things in the pipeline so I’m hoping it all comes together.

In terms of this year, though, you can catch me at Victorious, Bestival and Ventnor Fringe. I will also be in Nambucca (London) next month and will be playing at a few universities - including Winchester in September.

So...lots of things are on the way!

IN THIS PHOTO: Billie Marten/PHOTO CREDIT: Liz Seabrook

Are there any new artists you recommend we check out?

I’m a big fan of Maggie Rogers. Her debut E.P. is incredible and definitely brings some new elements to Folk.

I’m also a fan of Billie Marten, Lucy Rose etc..

I’ve been listening to a lot of Feist and Courtney Barnett, too.

Lastly, there is an incredible guy on the Isle of Wight called Swan Levitt. It’s super-moving and I’m playing a show with him soon!

lUAR11.jpg

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

(These are the albums that kind of turned my head - and made me want to listen to the artists that inspired these artists - and the artists that inspired those artists etc. On a different day, we’d probably be looking at a different three albums. These may not be my favourite now - but they are definitely where I started…)

Laura Marling – Alas, I Cannot Swim

This was the first C.D. I bought that wasn’t a ‘Now!..’ or ‘Pop Party’! I stumbled across the track, Ghosts, and became obsessed (and I still am). It’s stuck my car C.D. player; so I know it better than some of my own songs!

Feist – The Reminder

I absolutely love this album. I became really aware of the power of production etc. with this record: it was a real eye-opener. I’m definitely more into her recent albums, now, but, as a turning-point and as a songwriter.

I took a lot from this album

Bon Iver – For Emma, Forever Ago

This was my ‘music college’ album. Everyone was obsessed with Bon Iver; so I went home and listened to For Emma, Forever Ago and, thirty seconds into the first track, completely understood why. It’s beyond engaging and, as a sixteen-year old listener, was a bit mind-blowing.

This album definitely pioneers my mid-to-late-teens.

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

This is a tough one.

It’s hard to give advice to an artist because everyone has their own way of doing things - and their own vision. I would just say: make good music, write good songs; play good gigs, meet good people and let everything else run its course.

Just work hard - and be nice to people.

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).

Great. Thanks for chatting!

I’m off to see Feist on Thursday so let’s give her new tune, Pleasure, a spin.

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Follow Lauran Hibberd

FEATURE: The Summer Playlist: In the Sun...and After Dark

FEATURE:

 

The Summer Playlist: 

IMAGE CREDIT: Unsplash  

In the Sun...and After Dark

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OVER the next couple of days…

IMAGE CREDIT: Unsplash

I am keen to explore a number of things through features. For one, I want to talk about my future ambitions and new projects; whether love, the staple of modern (and historic) songwriting is as inspiring, original and popular as once was; whether it is possible for musicians to survive on gigs alone – and the reality for artists in the modern climate. I will also talk about mental health in music and whether more needs to be done. Now, and less serious perhaps, a chance to immerse yourself in a sun-drenched selection of songs. These are tracks, some new and old, that, I hope, beckons the summer and get the warm vibes flowing. It has been a rather unpredictable day and I am wondering whether we will see the sort of temperatures encountered only a week ago. If we don’t, and who knows living in Britain, here is a selection of songs that are guaranteed to warm the body – and get it moving at the same time. In fact; these songs are about when the sun goes down and when the heat still lingers – and all the lights go down…

INTERVIEW: Hannah Featherstone

INTERVIEW: 

 Hannah Featherstone

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BASED in Paris and, as a former resident of Brighton…

PHOTO CREDIT: Alfredo Salazar

Hannah Featherstone has experienced diverse cultures, romance and eccentricity. Her music career, whilst less eventful, has been impacted by her time in France and the U.K. I was excited to learn more about Solo and working with Noémie Daval on its video. She talks about the song’s inspiration and whether we will see her perform in Britain this year.

I ask about Paris and how it suits her style; the artists she grew up listening to and some of the albums that have been important to her – and compelled/guided her own sound.

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

I’m very well, thanks.

My week has been great so far. I’ve been in the countryside in the centre of France; by a river and under the sun - touring with a British orchestra. It’s been fun to challenge myself to sing Classical pieces and I’ve really enjoyed working on orchestral arrangements my new songs.

A fine balance between relaxation and hard work!

PHOTO CREDIT: Alfredo Salazar Photography

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

 I’m Hannah Featherstone: a Pop-Jazz singer-songwriter; born in England and raised in France. I started my journey with music when I was really young - singing with gospel choirs and playing classical piano.

I later discovered Jazz singing. I’ve always enjoyed mixing styles and playing around with my voice and strange chords.

At university, I started composing my own material. Some of my housemates and family overheard what I was doing and encouraged me to get music out there.

That’s how it all started!

Solo is the new single. What is the song about and can you remember the moment it was written?

I wrote Solo five years ago in my apartment, in Paris, in a period of romantic confusion - that moment when you’re wondering whether to wait around or move on.

Instead of beating myself up about it, I just set my emotions to music and decided to enjoy a time of restless, yet peaceful, solitude.   

Its video is online – looks like it was interesting to shoot. How was it shot because it looks like it employs some unusual visuals/techniques?

It was a bit of an experiment for all of us.

We borrowed a good camera, good lights and figured that, with a simple idea and clear direction, we could do a cool video. I teamed up with Estienne Rylle (who I also collaborated with for the music arrangement) and Noémie Daval for the ‘glitch art’ - which is creating digital errors by corrupting data.

Estienne directed the shoot and did the editing, incorporating Noémie’s glitch work into the pictures.

PHOTO CREDIT: Alfredo Salazar

Noémie Daval provides the look and effects on the video. How did you come to meet her and will you be working together again?

We met in an artist evening at a church in Paris, became friends and started working together on various projects. I took part in her project on synaesthesia called Ce Que Mes Yeux Ont Entendu (what my eyes have heard). She asked me to write a few vocal pieces that she turned into works of visual art.

We definitely plan to work on more projects together. Some are already in the pipeline…

I believe Solo is the current song from your upcoming album. What can you tell me about the album?

It’s a twelve-track album coming out later this year called Word Bound - centred on my piano and voice. I wanted to keep it quite bare in its style so the Electro sounds complement the voice - and the drums by David Allevard give the songs a nice strong groove.

The album centres around the question of what lies beyond words and beyond the representations we have of the world and people around us.

PHOTO CREDIT: Alfredo Salazar

You teamed up with Estienne Rylle for the album. What was it like working with him and what does he bring to the music?

I actually met Estienne at the point where there had been a few setbacks in getting the album recorded - when I was on the verge of giving up on the album after a few failed attempts at getting it recorded.

He was able to convince me to stick at it and see it through.. I don’t regret it one bit. He was able to get me through the final stages and really grasped the sound I was looking for. He’s a talented young artist and it’s been a privilege to work with him.

Paris is where you are based. What is the city like for music and how inspiring are its people?

Paris is a buzzing city and it’s great to be part of a culture that encourages art and creativity.

I’ve been living there for six years and I’ve enjoyed getting together with friends; stumbling upon bars that play live music and going to great concert venues.

PHOTO CREDIT: Guergana Damianova 

There’s so much going on: it’s easy to feel lost though. Paris does remind you of how small you really are!

It seems like you are at home in Paris. Any temptation to come back to England (where you were born)?

To be honest; I have been thinking about it.

I’ve always felt torn between the two countries. For the time being, Paris is where I want to be - but I definitely will be moving at some stage…to England, or elsewhere! Who knows…?!

What has been the best gig you have played in France?

Playing at the L’Olympia has been one of the highlights.

Not only because it’s the most iconic venue in Paris but, also, because I played there alongside friends as the opening act for Gregory Turpin.

But I’ve actually also found the living-room concerts I’ve done just as memorable. They’ve all been unique and it’s a real treat to be in such direct contact with the audience.

How important is the French language; the styles and cultures and different genres played in the city to your music and creativity?

As I was raised speaking both languages at once: I have a tendency to mix and match expressions from both languages. Although it could be seen as a hindrance to writing lyrics; I think it probably means I can play around with expressions and ideas a little more - by tapping into the other language.

As for the genre; I wouldn’t say that the French style has impacted me all that much. Chanson Française is mostly based on strong texts. I’d actually say living in Brighton for a few years had a greater impact on that front.

Can you tell me about the type of music you grew up listening to? Was music a big influence when you were young?

I come from a musical family - so music has always been a big influence.

I would listen to Bach, Phil Collins; Whitney Houston, Arvo Part; Bobbi McFerrin. As the rest of my family was so talented, I was often tempted just to let them get on with the musical stuff. So I did try to get away from it all. But it kept catching up with me.

I eventually decided to give it a real go myself.

What does the rest of the year hold in terms of plans and further music?

I’ll be releasing a few other tracks and videos before I get the album out in November (sometime).

I look forward to composing again as I haven’t been able to get down to that for a while.

Are there any tour dates coming up? Any opportunity to see you in the U.K.?

I’ve got a set of festivals and living-room concerts coming up in Holland, Germany and Brussels throughout August - and I’ll be doing some more in France in the autumn.

I’m also planning a few gigs in the U.K. in the near-future - I’ll keep you posted online…

IN THIS PHOTO: Charlotte & Magon

Can you reveal whether there are any new artists you recommend we check out?

I’d recommend you check Charlotte & Magon: a duo based in Paris that I met a few months back.

Great music and beautiful people!

PHOTO CREDIT: Alfredo Salazar

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

Camille – Le Fil

For its insanity and originality.

Fiona Apple – When the Pawn…              

For its raw power.

And any album from Lauryn Hill

For her soul and swag.

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

Surround yourself with people you trust and don’t be swayed by what people want you to be!

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).

Laura Mvula – Green Garden

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Follow Hannah Featherstone

FEATURE: Declan McKenna: From Brazil…to the World

FEATURE:

 

Declan McKenna:

 From Brazil…to the World

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IT might seem strange to focus so heavily on a new songwriter…

and someone so young – putting their debut album out to the world. I will come and talk about the awesomely-titled, What Do You Think About the Car? later on – as it represents a fantastic achievement from a bright and multi-talented young songwriter. There are a lot of solo musicians who write their own material and play their instruments. It is not as common as one would hope and, on Declan McKenna’s debut outing, he pours his personality all over the music. I have heard few young newcomers with such an individual and take-care-of-everything approach to their music. Maybe my 2016-favourite Billie Marten – on her debut, Writing of Blues and Yellows – had that integrity and talented – a couple of co-writes and some help with instrumentation and performance. McKenna is a teen who reminds me a bit of the young Bob Dylan – albeit, a modern and ‘sassier’ version. He reflects on modern life and issues few songwriters touch upon. I will come to that, as I say, but, right now, a bit about where Declan McKenna came from. Born on Christmas Eve, 1998; the Hertfordshire-raised musician started his G.C.S.E. exams in 2015 – makes me feel bloody ancient (I took mine in 1999)! Studying A-levels in English Literature, Philosophy and Ethics (and Sociology): it seems there is an intrinsic and deliberate connection between his academic pursuits and lyrical viewpoints. One can see how those areas of education have gone into a debut album – one that brims with relevant insight, accusation and intelligence. In fact; McKenna had to put the A-levels on hold once his music career started to take off. McKenna signed with Q Prime shortly after a triumphant appearance at Glastonbury in 2015. McKenna put his signature to a Columbia Records contract – after more than forty record labels battled it out to win the heart of the teen. That first single, Brazil, criticised FIFA – the governing body of football – and how they awarded the World Cup to Brazil in 2014 – overlooking the rampant poverty and violence inherent in the country.

PHOTO CREDIT: Emma Swann

Few artists, of his age and background, feel compelled to engage in political discussion and include in in their music. The fact McKenna hails from a working-class background, in a way, makes him more aware of the struggles of the people of Brazil – not that there is any link between his upbringing and theirs (I guess there is a natural empathy and outrage in the young man). Brazil, in addition to being a captivating song, highlighted a poverty and injustice that needed to be unearthed. Through 2015, with the success continuing to build, McKenna played a range of festivals through Ireland and the U.K. Most of these were quite modest – Big Boston Gig festival in Lincolnshire, for instance – but a chance for the songwriter to hone his skills and get his music to new faces. Self-released second single, Paracetamol, looked at transgender teenagers and how they are misrepresented in the media – the idea being that paracetamol is seen as a cure; the fact these teens might be able to be ‘cured’ of an ‘ill’. It is no surprise the song garnered praise and acclaim from the likes of NME. Many, even at that point, were calling Declan McKenna the ‘voice of his generation’. He refutes this claim (with a humorous and profane utterance) but, given the things he is writing about, he is responding to issues that need addressing. In a music scene swimming in mushy love songs, negativity and commercial ambitions. McKenna, as I glean from interviews he has conducted, is as down-to-earth and charming as they come. He rocks a good pair of dungarees – he explained to the BBC they are versatile and have plenty of handy pockets – and finds it condescending people think he should not be addressing such hefty topics at his age.

The fact the E.U. referendum result irked him some – and he, only eighteen now, was too young to cast his vote – compels anger and the need to expose the worst traits of our people; how we are becoming a divided nation – and one that wants to split from the outside world. The cracks in Britain mean we are becoming fragmented: this is something the young McKenna is acutely aware of – and feels a lot of sorrow and annoyance at. McKenna got his record deal at Glastonbury and, seemingly a contract delivered with mud splattered on and people excitedly urging him to sign, there was no fanfare and build-up. The teen signed it, had a big celebration and set to the task of creating his debut album. Let’s back it up a bit because, between here and then, a few things have happened. By late-August of last year; Declan McKenna unveiled Isombard to the world. Rather than bring out another boring song about love and life: this was a song about police brutality in the U.S. and how right-wing stations like FOX sought to justify it. Last year, following success and new material, McKenna secured gigs at Live at Leeds, The Great Escape Festival and Standon Calling. Debuting in North America on 11th March (2016) at Jannus Live in St. Petersburg, Florida; a set at SXSW and European dates took the British hopeful to the international audiences. That potentially poisoned chalice of BBC Music’s ‘Sound of 2017’ nod could have backfired for Declan McKenna. I have seen names on that list, including the winner of that list, who have not (thus far) reached their potential – not as lofty and successful as BBC predicted. McKenna is thankful of any nominations and features but, one suspects, does not want pressure and expectation on his shoulder. For much of last year, he was piecing together his album and working with James Ford – who has helped craft modern masterpieces by Arctic Monkeys and Florence and the Machine. I will finish with a look at the album itself but, for the remainder of this year, McKenna will play Reading and Leeds; other big festivals (he has played Glastonbury again) and plotting his next moves.

PHOTO CREDIT: Andy Hughes / NME

Speaking with NME, promoting What Do You Think About the Car?, McKenna was quizzed about his busking past (“I genuinely hated it”) and the experience of playing the streets of Harrow  (“But I thought if I did it long enough, loads of people would be listening to my music”). If his trademark live move of releasing balloons into the crowd would not work nowadays – he is playing thousand-seater venues – there are few other things that will change. He now has a platform on which he can write about L.G.B.T.Q. issues and the hyperbole that has been thrown his way. McKenna says, and addresses on Humongous, how those labels (being the voice of his generation) are ludicrous and nausea-inducing. People his age are engaged: he is simply articulating their viewpoints. There is a conception the middle and older-aged are the wisest: as election results have shown; should that be an assumption in need of reassessment?! It seems the young are the ones who want the best for the country and the most open-minded – much more tolerant and unified than other demographics. McKenna does not want to accuse his elders and ‘betters’ – merely talk about things important to him. The young master is looking ahead and urging us to watch this space. There is no telling what future albums might discuss: right now, he is rebranding and overhauling the traditional sound of the protest song. Were the music to have a Dylan-esque skin – slightly morbid hues and Folk strings – it might mean McKenna fades into the background – and dismissed as a moody and unoriginal protest artist. Shrewdly, he pens colour and flavour-laden bombs of fizz, fuzz and energy. He is compelled by David Bowie – a hero and someone he aspires to be – but turns his nose at any who suggests he is at Bowie’s level right now. Similarly, one should not ignore the trajectory of Declan McKenna’s career – showing the same originality and innovation Bowie did in his early days.

PHOTO CREDIT: @owenhardiker

If McKenna’s Hunky Dory and Low might be a few years off; he could, as he claims, maybe hit Earthling levels of quality right now – Bowie’s 1997 album that was not considered his best work. This is modesty from a hungry artist whose love of Bowie and ABBA can be detected in his kids’ choruses, vivacious electronics and huge Pop choruses. Many teenagers, growing up in today’s world, would need a lot of time to process what is happening around them. That is true of McKenna who, between the ages of fifteen and seventeen, was dealing with political divisions and facing rising fame. He spoke to Attitude about labelling his sexuality – how he is experimenting and does not want to define himself in binary terms – and refuting the sensationalism the media is providing him. So bright is the spotlight of expectation on McKenna; he is taking a mature and pragmatic approach to it. Rather than rebel and attack the media and the tags they impose on him: he is letting the music speak and taking care of business. We put too much pressure on young musicians and, when they start picking up fans, elevate them to absurd levels. Turning to the subject at hand – and the debut album from Declan McKenna – critics have been vibing and drooling over his car (an answer to that album question). The Guardian assessed the record, thus:

“…They are protest songs, but sound anything but worthy or world-weary. Instead, they are sun-soaked aural fizz bombs which channel indie rock through his love of David Bowie and Abba. His effervescent anthems are packed with detail, from electro squiggles to children’s voices, and he saves one of his best choruses for The Kids Don’t Wanna Come Home, in which he packs the anger, fear, alienation and glimmering flames of hope of Generation Z into a euphoric, uplifting pop construction…What a cracking debut”.

PHOTO CREDIT: Emma Swann

NME were hardly filled with hate and doubts:

“On debut album ‘What Do You Think About The Car?’, there’s swagger to McKenna’s delivery but no cockiness. Instead, he narrates his innermost feelings on everything from politics (‘Isombard’) to the media’s treatment of transgender suicide (‘Paracetamol’) with subtlety and skill. Standout ‘Make Me Your Queen’ is a rare moment of intimacy as he laments the ache of unrequited love, again with a delicacy and wisdom beyond his years”.

The eleven-track album was primarily penned in McKenna’s bedroom. This is a space he feels most relaxed in (and private). I am excited to see where Declan McKenna heads from here but, on the evidence of his debut album, it seems like a long and prosperous future awaits. The songs we already know about – Brazil, Isombard; Paracetamol, The Kids Don’t Want to Come Home and Humungous – are established and exceptional. Intriguing cuts like Make Me Your Queen and I Am Everyone Else are fascinating glimpses into McKenna’s personality and psyche. The entire album is focused, unique and uncompromising. He does not write for the charts, positions and niches: his debut L.P. is from the mind and soul; a young man exploring and growing into the world. This is his musical exploration and growth. Six of the eleven tracks have already been released as singles – one suspects that will probably be it already. There are big tour dates and the chance to get out to even more people. Many musicians might be daunted by such heady expectations from the media. Declan McKenna has no desire to let ego or false ideals define who he is. He’s a curious and lovable soul who is as interesting and complex off-record than he is throughout What Do You Think About the Car? Make sure you hear the album as it is one of the best of the year (so far) and, I think, signals a rare and near-peerless talent in British music. Not that is concerned with such things but Declan McKenna’s debut album more than means the Hertfordshire-born musician more than…

PHOTO CREDIT: Emma Swann

LIVES up to the hype.

FEATURE: Numb: Depression in the Music Industry

FEATURE: 

PHOTO CREDIT: Frazer Harrison/Getty Images 

Numb: Depression in the Music Industry

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THE tragic suicide of Linkin Park frontman…

Chester Bennington has, not only shocked the music industry and fans throughout the world, but put into sharp contrast an issue that is silent and indiscriminate: anxiety and depression in music. I know it is not a new phenomenon but, considering if it is the second huge suicide in a few months – Soundgarden’s Chris Cornell earlier this year – it makes me wonder why musicians, who have admiration and success, get to the stage where they would take their own lives. It seems like a last resort that many are confused by. I have been gauging the comments from fans and followers of Bennington. All have been stating how impactful his music was and remains to this day – some encountered Linkin Park as their first gig and it was a formative and life-changing experience. Others, with as much passion, quoted lyrics from the band that touched them. It seems, from a musician who seemed to understand the pain and torment that can break a person, to get to the stage when he saw no way out – and take his own life. Many of the commentators come to the same conclusion: how did it get to that point?! It is a simple and blunt point but not meant to judge or condemn. Instead, there is confusion and sadness. It seemed, from the outside, Bennington was okay, adjusted and fine. In fact, he was active on social media shortly before he died. There was no big 'cry for help' or any signs that the Linkin Park singer would commit suicide. That is the thing with depression: many who become that helpless and severe will kept it secret and not tell others. It would not have been a snap decision or something that was spur of the moment: it would have been as a result of past events, depression and a gradual build-up. Not to pour into the background of Bennington – he was abused when he was younger; could have contributed to his demons – but nobody will truly know why it happened and what was the ‘final straw’, as it were. Depression and anxiety and complex and, a lot of times, silent. I think about Chris Cornell and the reasons why, mere minutes after he came off the stage at a Soundgarden gig, he committed suicide. There, anxiety medication – and their adverse reactions – could have played a part but, when he took to the stage that night, he had already taken the medication.

PHOTO CREDIT: Mike Ehrmann/WireImage

People noticed he was slurring and out of time with the band. In the day before he got up on stage at the Fox Theatre in Detroit, he was on Twitter saying how pumped he was; how the gig was a massive one and it would be a dream gig. How, then, could a man like Cornell go from that elation and excitement to suicidal in such a short time? Did the anxiety medication help take the edge off nerves: did that, in turn, exacerbate the depression he has – that which, ultimately, led to his suicide?! If that were true, and he would have survived without the medication, it raised other issues. Do we need to set up campaigns, counselling services and measures so people do not need to take medication – some which can have life-threatening side-effects? Depression is a complex issue and, no matter how bad it can get, sometimes, people can see no other way to deal with it. One can say, yes, Bennington has millions of fans and that success behind him. How, then, could he either consider suicide – let alone go through with it?! It is easy enough when you are on the outside. One cannot imagine what was in his mind and what was happening around him in the days and weeks before his death. The wounds are, obviously, very fresh so I will not get into the whys and hows of his death. I have seen posting links to mental health charities: if you are in the same position, speak out before it gets to that stage. It seems there is that assumption that the reason people like Bennington commit suicide is, because, they feel alone and like there is nobody to talk to. Is that another reason why high-profile musicians’ deaths seem so stark?! One would think, given their fame, they’d be surrounded by friends and aids. This is a misconception and not always the case. One could not well post a warning message on Twitter and expect fans to help him through and talk him around. Depression is such a heavy and complicated beast: often, it takes more than words and therapy to cure someone. If you get to the stage when you take your life; chances are, all other options would have been explored and exhausted.

PHOTO CREDIT: Unsplash

That seems bleak but there is no single fix or easy way to resolve things. As someone who has suffered depression for eighteen years now; I can attest to how relentless and enigmatic depression is. I have tried counselling and talking – and bleaker things than that – and find it is not helpful or that comforting. Even if someone tries to cheer you or make changes: the problems are still there and you are the same person you were before. Depression is invisible and taking a theological, conversational approach to a chemical imbalance is a hit-and-miss approach. Some will find therapy and discussion open up a hidden burden and means others can help tackle things. In other cases, the mind overcomes and overwhelms everything else. If you have a past trauma or have been low for so long; there will be little discussion can do to mitigate and cure that. Depression is so varied and individual: it cannot be distilled to a single ailment and, as such, have a common remedy. One cannot say that, if Bennington has talked to people weeks/months/years ago, he would be here today. That would be a naïve assumption and insulting to his fight. Other say there is never a depression so bad the only way out would be suicide. I have seen others say that Bennington’s money and fame would have provided a comfort blanket and happiness most are not afforded. It does not matter how famous you are and how many fans you have. One cannot buy happiness – as we know so well – and success can often be the catalyst for self-destruction and isolation. It makes me wonder whether put too much pressure on musicians and whether platforms on social media make them more vulnerable and susceptible? Again, this is a forensic and hypothetical approach but are people becoming more anonymous and detached on Twitter and Facebook? Of course, one could read and see pictures/comments from the likes of Bennington and Cornell and think nothing of it. What is happening in their homes and away from the computer screen is undocumented and the other side of the coin.

PHOTO CREDIT: Unsplash

In many ways, if one were to reveal heartache and depression online, it leaves them prey to trolls and those who will add fuel to the fire. Are people feeling like social media is more an evil than benefit?! I would be remiss to be that revealing on social media. Not only would the responses be, I think, few but the advice might seem cliché and predictable. That is not a shot on good intentions but telling someone ‘you’ll be okay’ or ‘see a doctor before it gets worse’ is rather obvious. Chester Bennington knows all this – and knew how many people loved him – but that wouldn’t have made the difference. As I said; depression is not a single thing and nobody can say how it can be cured (if at all) and how bad it is. Maybe it seems redundant to mention it but I wonder whether we should do more to tackle stigma and issues surrounding it. Depression is an illness and, unlike cancer and other maladies, is not provided as much research and financing. Should the government do more to ensure the health service is set up to deal with the growing mental health crisis. That is what it is: millions away from the music industry go through the same and, sadly, many feel the only way to silence the pain is to commit suicide. The fact we live in a time when the plague of depression is killing so many seems shocking and unacceptable. I feel social media is a mixed blessing and something that is making people feel more alone and anonymous in many ways. It has its benefits and positives but how instrumental is to someone’s mental health and its well-being? Coming back to Chester Bennington and maybe commercial and critical pressures were a factor. Linkin Park released their current album, One More Light, was released in May and received mixed reviews. Many were scathing and said the band were past their best days. Bennington lashed out against critics who claimed the band had sold out and gone soft. He felt they had matured and it was a natural evolution. Critics are entitled to their opinions but it makes me wonder how detrimental and destructive bad reviews can be to a musician’s mental health.

IN THIS PHOTO: Chris Cornell

In the same way there would have been huge pressure on Chris Cornell’s shoulders – before Soundgarden’s gig back in May – maybe the reaction and backlash concerning One More Light was another wound Bennington could not shake off. Perhaps it is not productive analysing and speculating but it is clear we need to take a more proactive and reactive approach to depression. Governments around the world are not spending as much tackling the illness at its roots. Every notable suicide creates a wave of sadness and anger but, when that dies down, do we simply 'move on'? I have said how complex depression is so throwing money at it is not going to be as helpful in a lot of ways. I wonder whether we need to look at the way people are treated on social media; the pressure we put on our biggest musicians and whether, when someone confesses depression, we should detach them, to an extent, away from music and force them to get help. Bennington, right from Linkin Park’s debut album, used music as a way of talking about addiction and depression. Such a raw and honest approach to personal issues resonated with fans and helped so many people deal with their own problems – sad and ironic the author and mouthpiece could not find enough in those words to save himself. I don’t know but feel there is a needlessness and waste. Nobody should get to the point where suicide is the only option: huge musicians like Chester Bennington show how indiscriminate and cruel depression is. I’ll end with something positive – and have created a Linkin Park playlist at the bottom – by stating how important Bennington was to many. I am reading social media comments and people thanking him (Bennington) for the music. It is clear how influential Linkin Park were/are. Many formed a band off of the strength of their 2000 debut, Hybrid Theory. Songs like Numb and In the End are classics of the early-2000s and that album has been ranked as one of the finest in all of Rock. Chester Bennington understood the pains of depression and the Devil of addiction. Many Linkin Park fans were going through the same things; teenagers and young listeners felt less alone and found someone who understood what they were going through.

A band that fought against the generic and mindless themes that were circulating in Rock/Nu-Metal of the time (of their debut) came in with a bold and substantial brand of music that connected with millions. So many set up bands – emulating Linkin Park and entranced by their spirit and sound – whilst many dedicated themselves to the band. A frontman who shared so much of himself through the music, to get to the point where he wanted out of life, has created confusion in many. We must address depression and suicide but it is just as important celebrating the life of a musician who changed so many people’s lives. His legacy will remain forever and many, myself included, preserve his music and find guidance and comfort in it. It was brutal and savage at times but it is that willingness to share himself with the audience that makes it so inspiring and special. Not many artists feel the desire to let people into their souls – whether it is quite traumatic and raw – but that is what made Chester Bennington so special. I will close this by thanking Bennington for his services to music and the enormous impact he made. When the dust has settled, we have to accept that the mental health crisis is getting out of control. It affects celebrities and civilians alike; striking those most undeserving and forcing people to take their life. It seems such a tragedy and one that, in a lot of cases, can be avoided. If you are in a situation where you feel like nobody else around you knows what you’re going through; it is always worth exploring every option. I will finish by borrowing words from NME’s Andrew Trendell. In an article published yesterday - some sage advice came through. In the piece, these words seemed to stand out:

“Experiences vary, and sometimes we might not notice it creeping up on us or our friends or family, but things you would commonly spot are feelings of low confidence, feeling worthless, hopeless, guilty, more irritable and angry than usual, or an inability to enjoy things,” said a spokesman from the Campaign Against Living Miserably (CALM). “Someone might have repetitive negative thoughts, you may feel you are in a bubble: you can’t reach out, and others can’t reach you. A flat feeling. You might know you love your partner or family, but you can’t feel it.

  Physically we might experience low levels of energy, finding it hard to do anything, often to the point where it feels impossible to get out of bed. This can actually be experienced as aches and pains. Sleep may also be affected: too little or too much… CALM added: “If you’re struggling, tell someone you trust. Someone you know who will listen and take you seriously, and don’t worry about how it comes out. ‘I feel shit’ will do to start things off. This first step of talking about it can be the hardest, but the overwhelming majority of people we speak to say it was a relief to let somebody else know and they got a really positive response.”
The symptoms and those brave, important next steps

One in four people are effected by mental health issues each and every year. It can be hard to talk openly about your issues, but you may be surprised at how supportive people can be.

We spoke to leading charities and experts about how to tell if you might be suffering with depression, and how to make that brave move of figuring out what to do next.

“Experiences vary, and sometimes we might not notice it creeping up on us or our friends or family, but things you would commonly spot are feelings of low confidence, feeling worthless, hopeless, guilty, more irritable and angry than usual, or an inability to enjoy things,” said a spokesman from the Campaign Against Living Miserably (CALM). “Someone might have repetitive negative thoughts, you may feel you are in a bubble: you can’t reach out, and others can’t reach you. A flat feeling. You might know you love your partner or family, but you can’t feel it. Physically we might experience low levels of energy, finding it hard to do anything, often to the point where it feels impossible to get out of bed. This can actually be experienced as aches and pains. Sleep may also be affected: too little or too much”.

“If you were looking out for a mate you may see them withdraw from social situations but sometimes they may party all the time,” says CALM. “With blokes particularly, drugs and alcohol are often used as a way of dealing with these feelings. It can also take less to ‘snap’ at others. The important thing is that if you see a change in someone, be there for them, ask them how they’ve been doing and be willing to listen without judgment.”

CALM added: “If you’re struggling, tell someone you trust. Someone you know who will listen and take you seriously, and don’t worry about how it comes out. ‘I feel shit’ will do to start things off. This first step of talking about it can be the hardest, but the overwhelming majority of people we speak to say it was a relief to let somebody else know and they got a really positive response.”

Mental Health charity Young Minds listed some symptoms of depression as:

  • Not wanting to do things that you previously enjoyed
  • Not wanting to meet up with friends or avoiding social situations
  • Sleeping more or less than normal
  • Eating more or less than normal
  • Feeling irritable, upset, miserable or lonely
  • Being self-critical
  • Feeling hopeless
  • Wanting to self-harm
  • Feeling tired and not having any energy

“The most important thing you can do if you think you’re depressed is talk to someone,” a Young Minds spokesman added. “This could be a friend, a family member, a teacher, a colleague, a GP, a counsellor or a confidential helpline. Don’t suffer in silence. Talking about how you’re feeling can really make a difference.”

But what do you do next?

Sue Baker from the charity Time To Change gave us the following top tips – apply these when thinking about having your first conversation about your mental health with someone:

  • Be prepared: “Think about the different reactions – positive and negative – that the person might have so you’re prepared. The person will be thinking about their perception of mental health problems, you as a person and how the two fit together.”
  • Choose a good time: “Choose a time and place when you feel comfortable and ready to talk.”
  • Be ready for lots of questions… or none: “The person you are talking to might have lots of questions or need further information to help them understand. Or they might feel uncomfortable and try to move the conversation on – if this happens it’s still helpful that the first step has been taken.”
Band.jpg

PHOTO CREDIT: Unsplash

  • An initial reaction might not last: “The person might initially react in a way that’s not helpful – maybe changing the subject, or responding with unhelpful advice or clichés rather than listening. But give them time – it might be the first time they’ve ever had a conversation about mental health.”
  • Have some information ready: “Sometimes people find it easier to find out more in their own time. You might want to download some information from the Time to Change website.”
  • Keep it light: “We know that sometimes people are afraid to talk about mental health because they feel they don’t know what to say or how to help. So keeping the conversation light will help make you both feel relaxed.”
  • Courage is contagious: “Often once mental health is out in the open, people want to talk. Don’t be surprised if your honesty encourages other people to talk about their own experiences.”

PHOTO CREDIT: Unsplash

“Equally, if you’re looking out for a friend, there are lots of simple, everyday ways you can support someone who has a mental health problem,” added Sue. “Small things can make a big difference – like being there to listen, keeping in touch and reminding the other person that you care. You don’t need to be an expert to talk to someone with a mental health problem. And it’s often the small things you do and say that can make a big difference to someone – like asking ‘How are you?’ or dropping them a text to say hello.”

FOR HELP AND ADVICE ON MENTAL HEALTH:

I hope some, if not all, of that advice, is of use – for anyone who feels they are alone and scared. Let’s hope we see fewer suicides in the music industry and we take a more direct and long-lasting approach to mental health service reformation and strengthening. Deaths like that of Linkin Park’s Chester Bennington highlight an alarming problem and one we can all do something to improve/extinguish. In all the sadness and pain people are feeling today, it is just as important to celebrate a singular and extraordinary musician who…

CHANGED so many lives for the better.

INTERVIEW: Up Down Go Machine

INTERVIEW: 

 Up Down Go Machine

________

THE London band Up Down Go Machine; in addition to that…

intriguing name, boast some terrific and unexpected sounds. I ask about new single, Gambler, and the sonic influences that go into it. The band weaves punchy, yet delicate, Folk melodies and stripped-back guitar sounds together. In terms of theme; Gambler explores a man whose addiction takes him to the dark side – inspired by the gangster films of the 1980 and '90s.

A killer chorus and fascinating set of lyrics is not an easy thing to get right – Up Down Go Machine seem to achieve it with ease. I ask about the band’s roots and the sort of music they grew up listening to; how they managed to secure (forthcoming) gigs in New York and their fondest memories to date.

________

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

A big hello from Up Down Go Machine. 

We are made up of moi (Sam) on the drums; Stephen on the bass and the powerhouse vocals of Stephen - who also plays the guitar.

Can you reveal the origin of that band name, ‘Up Down Go Machine’?

Our singer, Stephen, on his travels, found out that the name ‘Up Down Go Machine’ is a direct translation of 'a lift' in Japanese...apparently.

At the time, he thought, "That would make a great band name!".

We decided Up Down Go Machine was a fantastic name and felt it had relevance to our music so we swiped it, branded it and gave it a logo.

Talk to me about the single, Gambler. What was the inspiration for that song?

The inspiration actually came from when Stephen was watching the movie, Casino.

The individual characters took his attention and he wanted to write lyrics that delved into the darker aspects of the gambling scene. From here, we wanted to create a sound that was ambient and deep but at the same time; had space to allow the track to build - as it moves along from chorus to chorus.

A recent review said that the track has pace, restraint and understatement - and it's this that makes it stand out. We couldn't actually agree more!

 

It is the lead-off single from your eponymous E.P. What has it been like putting the songs together? What sort of stories and tales compelled the songs?

The stories all vary: telling a different tale each time! 

We have songs about a damn bursting back In the 1700s; another based on a mermaid that falls in love with a man - and one of the tracks is focused around one of Louis Theroux documentaries about alcoholism - taking one person's stories and perspective of his/her world. 

Your music takes in many different genres and sounds. How would you describe your sound?

One of the hardest questions to answer, really!

I suppose we fall under the combination of Folk, Indie & Rock.

Our music had an overall finished sound - which is explored and polished when in the studio. We all bring our own talents and music tastes to the table. This is what makes the music so interesting to create.

How did the band get together in the first place? Take me back to those early days.

The band first came about when I (drummer, Sam) met Stephen working for Oakley.

We got onto the conversation about music and he told me played the guitar and sang. I checked him out, heard his vocals and immediately replied with....LET'S START A BAND! 

I notice Celtic Folk is evident in your music. What kind of music did you all grow up listening to?

We've all grown up listening to all sorts of music - which is what it's about!

Our singer, Stephen, comes from Wales so holds his Celtic roots close to his heart. This is a fantastic attribute to have in a band - with such a powerful vocal - as you can hear it, not only in the music, but in the raw talent of his voice.

When writing our music; all of our own personal musical backgrounds and musical tastes are brought to the table - in the hope to create something exciting and unique.

You have performed at a range of venues and locations over the years. What has been the fondest memory so far?

We have been fortunate enough to play at some amazing venues along our musical journey thus far.

For me, the fondest memories were coming off the Big Top Stage - after a stomping set at the Isle of Wight Festival...BUZZING!

Swifty followed by Shepherds Bush Empire.

I believe, among other duties, the band will tour New York very soon. How did that offer come about? How excited are you to head over there?

We have a few contacts over in N.Y. who, gratefully, are loving our music right now - so they have kindly asked us to go over there and perform at some great venues across the city!

Due to the bands overall sound, we personally feel that our music style will be well-received over stateside - so can’t wait to get over there and smash the pants off it!

Future gigs include a spot at Music Makers Festival. What was it like getting the call for that?

Very pleased!

The Music Makers Festival has a great line-up of some of the best artists around at the moment. So, it's always a pleasure to be asked to perform these sorts of shows.

The likes of BBC Radio 1 have supported your music – it seems there is a lot of love for the Up Down Go Machine brand. How did that make you feel? Does it give you the confidence to keep striding and dreaming?

Absolutely!

We are SO grateful to all of the support we receive for the band. We all have such a passion for the band and the music so there's no better feeling than to hear your music and hard work being praised by the likes of the BBC.

We're most certainly going to be striding well ahead with the music - so we only hope the price continues and we get out music out to new ears and picked up by new fans!

Are there any new artists you recommend we check out?

Get your ears around a bit of CAMP CODE: awesome Ozzie-ness!

Also, D.D Dumbo: Delightful grooves!

If you're in a chilled mood or working in a sweaty office: may I suggest Maribou State?

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

It's not always (just) about writing great music: it's just as important to create a solid brand identity for yourself/band and pushing forward with consistency.

This will make it easier for people to recognise you and your music moving forward.

Pick me some songs to finish on, guys...

We Are Augustines - Chapel Song

D.D Dumbo – Walrus

Stereophonics - More Life in a Tramp's Vest

________

Follow Up Down Go Machine

FEATURE: The Best Albums of 2017 (So Far): Stormzy – Gang Signs & Prayer

FEATURE:

 

The Best Albums of 2017 (So Far):

 Stormzy – Gang Signs & Prayer

________

I was going to select Sleaford Mods’ English Tapas for the final inclusion…

PHOTO CREDIT: Stefan Heinrichs

on this list but felt, as both were pretty strong, Stormzy’s Gang Signs & Prayers just muscled it. English Tapas, in a sense, is a very British album – it looks at national issues and the same parade of dodgy characters one usually finds on a Sleaford album. It is a remarkable record and definitely in this year’s top-ten, thus far. I plumped for Stormy because, not only is it his debut, but it seems to predict a lot of the uncertainty that was to unfold in the country. He speaks about where he is and came from and, in many ways, has managed to push Grime forward. There is the traditional boasting and confidence; songs that look out at the country and what is happening around us. Whilst it does not acutely lambast and chide the government and their mishandling issues and the people – one feels Stormzy is preparing another record that reflects the tense times we live in.

In looking at Gang Signs & Prayer; it is important looking back and the lead-up to the album. Stormzy has been a player on the Grime scene for a few years now but never really gained the recognition and attention he deserved. Perhaps that was a natural reality – nobody catapults right off the block – but, given the strength of his debut album; the seeds were planted right from the off. One listens to cuts from his debut E.P., Dreamers Disease, and hears those sparks and flashes of inspirations. That E.P. was an independent release and gained a modest following. Even then, one felt a special and bright talent was starting to take shape. Maybe the songs (on the E.P.) were not as confident and nuanced as what we find on Gang Signs & Prayer – plenty for people to get excited about, regardless.

Know Me From came out in March 2015 and was another step forward from the London Grime newcomer. Unveiling the final part of his WickedSkengMan freestyle series – I think Judi Dench put out a similar project at the time! – WickedSkengMan 4 onto iTunes – that was joined by a studio version of Stormzy’s Shut Up freestyle. It was a first top-forty for the young artist and an important accomplishment. Not only that but the track’s video racked up millions of views and pushed Stormzy’s music to new audiences. Because of this increased attention and approval; Stormzy helped pushed the song up to eight in the singles chart with a passionate Christmas campaign. There was a gap following that success but it was not wasted. By February this year, a series of billboard campaigns appeared around London that displayed lyrical quotes and the #GSAP 24.02 hashtag. The first taste I, like most, had of the album was the single – and my favourite slice from the album – Big for Your Boots.

With Fraser T. Smith on production duties (with Sir Spyro); it got to number eight in the charts – the joint highest-placed single from Stormzy – it would reach number six eventually and, therefore, became the biggest hit so far. What I love about the album is the fact it harks back to the ‘golden’ age of Grime. I am a big follower of Dizzee Rascal and his immense debut, Boy in da Corner. Maybe Dizzee’s songs were directed more at the estates and characters he encountered as a youth – Dizzee was a teenager when the album was recorded – whereas Stormzy’s debut had a slightly different agenda. What thrilled me about Gang Signs & Prayer is the sheer confidence and mix of sounds displayed throughout. It is not a simple and one-dimensional effort – like one might hear from his peers – but an explorative and cross-pollinating wonder that sounded like it was being performed by someone decades into their career. That lack of nerves and complete conviction meant it connected with critics – one of the most celebrated and loved albums of the year (until that point).

There is pensiveness in the record, as some noted, that balances the bold and, sometimes bolshie, nature of the music. Never combative, reckless or impudent: it is, instead, a wonderfully realised and mature release from an artist taking a huge swing at the competition. Blinded by Your Grace, Pt. 1 has a few writers in the mix but it is Stormzy’s personality and voice that comes through. It is, oddly, a sort of Stevie Wonder-like piano-led song that, as you say it, sounds a bit ridiculous. The fact it is one of the highlights shows what a force Stormzy is. It is an emotional and reflective piece that acts as a pleasing contrast to the braggadocio and swagger one discovers in other moments. Sure, there are a few weaker offerings on Gang Signs & Prayer and some flabbier inclusions – mainly towards the end of the album – but they are compensated by so many triumphs.

One of the biggest criticisms of Grime and Hip-Hop is how repetitive, limited and constrained it can be. In a sixteen tracks debut album; Stormzy would not have survived the critical assault were he to further denigrate the genre by producing a run-of-the-mill record. Instead, knowing the knock British Grime gets, there are a variety of instruments, ideas and stories packed into the songs. There is, yes, bravado and proclamation but, as the songs start to melt away, one finds a sensitive and intelligent young man trying to push Grime beyond its roots – ensuring it is fresh, inspiring and evolving. I feel Gang Signs & Prayer acts as a vital scripture for contemporaries to study. U.S. Rap and Hip-Hop is a lot finer and more reputable than the British alternative – this can change if more follow the example of Stormzy. The fact Stormzy refutes the maxim that a Grime album needs to contain endless bangers is a brave decision. He, on his debut album, keeps the shout-outs and smack-downs to a minimum – preferring to looks inwards and address something deeper and more personal.

Not only is there is some fantastic performances from Stormzy himself but some of the guests he hooks with. Kehlani and Wrecth 32 join MNEK and Raleigh Ritchie add something different to Stormzy’s deep and darker tones. Cigarettes & Cush, featuring Kehlani, is one of the standouts and a song that, once heard, rattles around the head – two very different performers sounding perfectly suited on the song. If one is blown away by the collaborations and guest spots: one cannot ignore and underplay the emotive and tender times on Gang Signs & Prayer. 100 Bags is Stormzy sharing his open-letter to his mother – offering regret for his past indiscretions and foolishness; thanking her for raising him alone and standing by him. There is a song on the album, at the very end, when Stormzy calls MC Crazy Titch – calling from prison as he is serving a life term for murder. That stick-to-basics approach is everything rebelled against on the album.

Accusatory in the way it calls-out Grime artists unwilling to push the genre forward: here, we have a demonstrative evolution and desire to take Grime in new directions. I guess there are basic elements and rather bare-naked offerings on the album – a freestyling over a 2004 instrumental is as sparse as they come. What I mean is the insipid beats and cliché set of lyrics – one would experience on any other Grime album – are dispensed with and replaced by something fuller, more interesting and original. Inspired by artists like Skepta, Lauryn Hill and Frank Ocean; there is a wonderful blend of U.S. Soul/Hip-Hop and British oldskool Grime. All of this unified and comes to fruition in a marvellous debut album that must rank as one of the best albums of the year. Certainly, there will be no British Grime albums that match the scale, scope and quality of Stormzy’s debut – unless Dizzee’s approaching album rekindles his early genius – and, I think, Gang Signs & Prayer becomes more relevant and compelling as time passes. What Stormzy does next is up to him but, whatever he does, he has a huge task…

ECLIPSING a remarkable debut salvo.

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 Released

24th February

Recorded:

2015-2017

Genres:

Hip-Hop; Grime; R&B

Length:

58:46

Labels:

#Merky, Warner, ADA

Producers:

Stormzy, Fraser T. Smith; 169, E.Y Beats; Mura Masa, Sir Spyro; SOS, Sunny Kale; Swifta Beater, Wizzy Wow; XTC

DOWNLOAD:

 Cold; Blinded by Your Grace, Pt. 1; 100 Bags; Shut Up

STANDOUT TRACK:

Big for Your Boots

INTERVIEW: George Glew

INTERVIEW: 

 George Glew

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TAKING that first step into music can be a big challenge…

but George Glew is prepared for the task at hand. He has been recording music for a while so his single, Bury Me, comes equipped with natural confidence and experience. His aim is to release a song each month (for a year).

I ask how he is feeling about this feat and whether it will lead to an album – a place to put all those songs together. He talks about the music scene in South Wales and the music he is inspired by.

I was interested to know about the songwriting process and the reason for such ambitious productivity; albums that have struck his hardest and what his tour schedule is looking like – and whether the artists that struck his ears as a child.

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

Hi! I’m very good.

It’s been a mental few days, what with Bury Me being released on Friday, but feeling very positive.

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

Of course.

My name is George Glew and I’m a twenty-four-year-old singer-songwriter/producer from South Wales - now living in Bristol.

I have been listening to your single, Bury Me, and am interested in its origins and story. What compelled the song?

I wrote the song quite a few years back so when trying to remember the origins or the feeling I had when writing the song is difficult. I think something had happened and I just wanted to have a fresh start; become a new person.

With that, take all my wrong doings and peoples hurt with me and start fresh. This song has really stuck with me for some time and it really means a lot to me.

I hope people find their own meaning within it.

It is your debut track. Is it quite nervous or are you excited by this moment? Why was now the perfect moment to come into music?

I had been (anyway), for about a-year-and-a-half, just writing and producing songs - and I felt the need to really get music out there and start gigging again - rather than just having all these tracks that no one would ever hear.

Then, the idea of doing a track a month came up, and it seemed perfect!

But, yes, I was still a little bit nervous - but it’s out there and I can’t really do anything about it now, right?!

Can you tell me how you got into music? When was the fuse lit?

I started playing instruments from an early age: piano first, then guitar and then drums. I think the idea of creating my own music and producing etc. started when I was about sixteen. I would say that I heavily got into it when I was eighteen.

I made a small, super-basic studio in the garage at my mum’s house - and just started recording my songs and other mates’ songs as well.

I really found my flow in writing and my style when I was about twenty and I started writing songs and thinking: “These aren’t bad”.

I believe you are releasing a new track every month for the next year? What was the reason behind that decision? Can you give us a window into next month’s song?

You are correct!

The reason is, probably, the fact that I have loads of finished songs in demo-form and it just seems the best way to do things now. I also have a few different sounds in my repertoire - not just this big, Soul-y, Blues-y side (so I can show each one in its own light).

With Bury Me being one of the oldest and best songs it just had to go first. I won’t be releasing a track a month for forever - or just singles, for that matter - as I really love albums and full bodies of work.  I’m very excited about this next year!

I’m not sure whether I can tell you about next month’s release but it’s a good one and it’s got a very interesting instrument in it… 

After the twelve songs are out; will they go into an album? Any plans for an E.P. at all?

Maybe; maybe not.

It’s hard to tell just after the first release but I would love to do a special release of them all of some kind… will keep you posted on this one.

Can you tell us about your songwriting process? Do you sit down and dedicate a certain amount of time to songwriting or do you write when the moment strikes?

I try to keep to doing a track from start-to-finish, once a week: it’s hard to keep up at times but it keeps me thinking about the creative process - so that I never forget the point of being a recording artist.

I feel like it’s important to set time aside, you have to sometimes force creativity to stop your creative brain from dying.

Then again, if I feel inspired to write something, I will - there’s no set rule.

You were born and raised in South Wales. Was there an array of great music there or was it quite quiet in terms of the local scene?

At the time when I was making music and living in South Wales, there was a lot of Hardcore and Metal bands about, and not too many singer-songwriters, so, I naturally fell into playing in Alternative bands.

During my teens, it was the height of the Pop-Punk scene with bands like Kids in Glass Houses and The Blackout - but I don’t think it massively influences me now.

I met a lot of great musicians, though, and some of my favourite bands are from there: The People The Poet and Straight Lines.

George11.jpg

What kind of artists did you grow up listening to?

When I was little, my mum always listened to Queen, Eric Clapton and Stevie Wonder - stuff like that. So, I guess it formed my later tastes and is probably engrained in my brain. I still love that music now.

Big influences for me when I started writing were singer-songwriters like Paolo Nutini and Bon Iver, and later on, I found artists like John Mayer and Gary Clark Jr. - who really pushed my guitar playing.

Can you reveal any gigs you have coming up? Where can we see you play? 

I have a monthly residency at The Gallimaufry in Bristol which I’m really looking forward to. It’s on July 25th, August 29th and September 26th.

George11.jpg

How do you spend your downtime from music? Do you have any hobbies at all?

There’s very little downtime between my day-to-day job and focusing on the music - but I do find time to just relax and spend time with friends really. It’s important to recharge sometimes and remember to live and gain life experience.

I also love watching films; but with no distraction…

IN THIS PHOTO: Nugget

Are there any new artists you recommend we check out?

There are so many artists I love but I would recommend you guys checking out Sleeptalking, Keir and Nugget.

They’re all amazing artists that I’ve known for a while now. They all do amazing things - but in very different ways!

George7.jpg

IN THIS PHOTO: Sleeptalking

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

John Mayer - Continuum

This album taught me about great musicianship and how, sometimes, less is more – also, the songwriting is just incredible!

This album alone enhanced my guitar playing so much.

Bon Iver - For Emma, Forever Ago

Probably the most beautiful album of all time - and I’ve constantly gone back to it for so many years now. It can take me to another place.

John Legend - Darkness and Light

Some of the most creative production and mixing of any recent Pop record - probably one of the only recent Pop albums I’ve loved from start-to-finish.

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

Just keep writing songs: the more you write the better your judgement becomes...

Also, stick with your gut and create what you love: whether people like it or not, you’re making the music you love and you’re going to be associated with it and performing it each night.

Work with as many people as possible to start with and learn from them -  there’s always something to learn from collaboration.

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).

To Build a Home - The Cinematic Orchestra (ft. Patrick Watson)

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Follow George Glew

INTERVIEW: Candice Gordon

INTERVIEW: 

 Candice Gordon

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SHE has, previously, recorded an E.P. with legendary hell-raiser…

Shane MacGown - and is set to release her own album, Garden of Beasts, on 8th September. I talk to Candice Gordon about the album and the kind of stories she touches on. Living in Berlin; I was curious about the scene there and whether there are, local or otherwise, any artists she recommends we follow closely.

Gordon talks about working with label-mate A.S. Fanning (who produces her album) and the insight into new single, Nobody. Having previously lived in Dublin; I wonder whether she misses the city and any plans on going back. I learn more about Brown’s touring scheduled and, having worked with someone like Shabe MacGown, she has a bit of a wild side herself!

________

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

Grand.

I have just finished editing a video for my next single and I’m going to Frankfurt tomorrow to support Midnight Oil - so I’ve been rehearsing for that.

Tell me about Nobody. What is the origin of that song?

I used to work in shi*ty, shi*ty night clubs for money. From this experience, I had this image of vacuous desperate hedonism - I wanted to examine some driving factors of human behaviour in this album and create a sort of narrative.

Nobody is the point in the album where innocent carefreeness turns harmful. It’s basically about objectification and dispossession.

On 8th September, Garden of Beasts is out. It sounds like an interesting album. What is the inspiration and story behind that title?

When I moved to Berlin, I, frankly, became obsessed with the Nazis and the Holocaust. I wondered how on earth those people could do what they did?! How can people be so evil - the common, Average Joe people, complicit in such atrocity?!

I was immersing myself in a lot of documentaries and literature about it all and then I saw a documentary series (not about Nazis this time) called The Human Animal - and it sparked the idea of this concept album.

I was comparing things like sophistication vs. savagery; caring vs. harming; lightness vs. darkness etc. The beginning of the album is the birth: it grows through adolescence, exploration; trauma, death and, finally, a cleansing and rebirth.

I have a picture in my mind of these characters going through it all but I’m not sure if all that will be apparent to the listener.

I don’t really want to impose it on them - just hint at it - and, maybe, they will take the contemplative journey.

Oh, yeah: the title is directly inspired by Tiergarten in Berlin - but plays well with the Human Animal stuff.

What was it like having label-mate A.S. Fanning producing and Ingo Krauss mixing? What did they bring to the album?

Fanning is a grounding element for me; a solid foundation. He kept things together when they were on the verge of falling apart.

Quite a few times during the process I was ready to pack it all in. He’s also a great multi-instrumentalist and creative musician; ten/ten: would recommend. I would also highly recommend working with Ingo Krauss. He’s sort of a sonic philosopher. REALLY passionate about sound.

He just gets the job done (and to a high standard) - I am endlessly appreciative when people just do what they say they will do.

It was recorded in an Irish country house and Berlin’s Funkhaus. I know you have moved to Berlin. How important is the city and how influential are the people and cultures there when it came to Garden of Beasts?

I reckon I answered this up there but I’ll elaborate with a book recommendation - and one that I read during the writing of the album and really had an impact on me: Alone in Berlin by Hans Fallada.

For those that don’t read: they’re releasing a film version soon (or maybe already have).

You grew up in Dublin. Do you miss the city? How do the music scenes differ in Berlin and Dublin?

I do miss Dublin.

I dream I’m there often. I really miss the sea.

But, it’s too capitalistic and Catholic - and I’m too much of a hippy liberal...and I’m a woman - so it’s not a good fit right now.

Maybe I’ll move back when one of us has changed.

Many reviewers note the brooding and visceral nature of the music – a mix between Nick Cave and PJ Harvey, perhaps. Do you take that as a compliment? Are those artists important to you?

Yes, I hear this a LOT.

After I play a gig I get it too, that and Patti Smith. A LOT! I don’t get why. I really don’t get it. I don’t think I sound like any of them. I found out that Shane MacGowan phoned Nick Cave - after we worked together - and told him he should check me out - and I did swoon!

But, yeah, I don’t get it and it’s frustrating because enough people have said it; so I recognise a pattern - but I am not hugely influenced by them; although I do really like the music and highly respect them as artists.

Maybe we come from the same planet. Of course, people intend it as a compliment.

One journalist, rather wonderfully, said Nobody was the best song never to feature on the Twin Peaks soundtrack. Your music has a Lynch-ian quality. It is cinematic and dramatic. How, do you feel, cinema, drama and visuals aspects inspire your sound?

That was said about Before the Sunset Ends - which was the lead track of the E.P. (produced by MacGowan).

When I write music I see scenes like in a movie. Maybe everyone does. It is very vivid, yeah, and I love Lynch.

I would absolutely love to compose for film.

I have been working a lot with a filmmaker here in Berlin, Valquire Veljkovic. He used a few songs from Garden of Beasts on his forthcoming trilogy, Harvesting Insects, and it’s very satisfying to hear my songs placed on a beautiful film. I am planning to compose specifically for him this year.

In the past; you have worked with Shane McGowan and performed at Truck Festival. It seems like you embrace and lust after a certain rebelliousness. Would that be fair to say? How do you spend time away from music?

Some friends and I have a running joke about how Larry David I am.

I often find myself in situations that would fit right in to Curb Your Enthusiasm. He’s a rebel isn’t he, so, yeah, I’m a rebel like that?

Away from music: I don’t know.

I like movies and comedy; and vegetarian food. Any of my really rebellious behaviour...I will leave up to the imagination of the reader.

What do the coming months hold in terms of tour dates? Any plans to play the U.K. this year?

Yes.

Playing London on the 27th September on a line-up with my compadres A.S. Fanning and Louis Brennan. It’s in the Servant’s Jazz Quarters.

I will be touring in Europe in October.

Are there any new artists you recommend we check out?

Both of the aforementioned have amazing albums coming out soon.

Paddy Hanna is a talent waiting to be discovered too.

Also; a favourite band at the moment are BALOJI.

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

I’ve been listening to Alan Vega’s Cubist Blues this summer.

I have a feeling it’s going to influence some future work of minute - but I can’t promise anything.

Likewise; same with The Modern Lovers’ The Modern Lovers.

I’m going to go with Kraftwerk Radio-Activity as a record that I had some pretty wild existential revelations to this.

What is the most important advice you have been offered by anyone – either, in terms of your music or something that has changed you as a person?

One thing that comes to mind: in the history of the Seattle Museum, there’s an exhibit about how the Alaskan gold-rush contributed to the growth of Seattle. They advised their residents not to go to Alaska and they had a catchphrase: “Mine the miners” - and business boomed in Seattle catering for the miners that were passing through to find their fortune in Alaska.

Of course; most of them returned broken-down and empty-handed.

I think about that regarding the music business now.

On that note: what advice would you give to any new artists starting out right now?

You’ve got to find the sweet-spot where you take your work seriously enough to work on it every day - and not too serious that you get paralysed.

You’ve got to be having fun: lighthearted but, at the same time, completely heavy - like it’s some sort of spiritual divination. Or like a drive; or a hunger for the sublime. When you’ve got good work, then you need to find the good people to work with.

People easy to work with who work hard and get stuff done. You work hard and get stuff done...and then the ship is sailing.

Also, work as fast as you can on something when the fire is lit - before it goes out.

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).

Play me some Fela Kuti!

_________

Follow Candice Gordon

TRACK REVIEW: Roxanne de Bastion - Heart of Stone  

TRACK REVIEW:

 

Roxanne de Bastion

 Heart of Stone

 

9.3/10

 

 

Heart of Stone is available at:

https://www.youtube.com/watch?v=TgIbPg8JX0g&feature=youtu.be

GENRES:

Singer-Songwriter; Pop; Alternative; Folk

ORIGIN:

London, U.K.; Berlin, Germany

RELEASE DATE:

28th July, 2017

The album, Heirlooms & Hearsay, is available at:

https://open.spotify.com/album/2X5uUMDFi3I73qbxapgwCH

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THERE is so much to love and respect…

about Roxanne de Bastion. I will come to look at her track, Heart of Stone, but, before then, aspects relating to the young artist. I want to look at Berlin and the German music market; artists who strive for equality and better rights for their peers; mixing 1960s touches with varied compositions; a striking voice and its effectiveness; the inspiration behind albums and touring schedules – gaining popularity and what that can lead to. I shall start by looking at Germany – where de Bastion spent her first few years. It is, I am seeing, a lot of musicians actually immigrate to Berlin. It may seem like London is the most attractive proposition but that is not exclusively the case. A band I am interviewing later this week, Zap!, have found themselves in the German capital. It seems like their way of life and way of working is attractive and alluring. I can understand, given the way the country has been divided here, why many would want to go to another nation. Germany seems a lot more stable – politically, anyway – and capable of speaking for its people without creating a generation divide. We have screwed up every political decision/vote we’ve had and it seems like the ‘majority’ are advocating a detachment from people and other nations. Germany, at the very least, is more pragmatic and less entitled. When nations are divided, it impacts on every sector of society. The music industry here is great but it seems like Berlin is flourishing – and promoting some of the finest bands around. Even though de Bastion lives over here; she began her music course in Berlin and learnt a lot. I want to talk about a few of the bands making waves and the sort of music coming out of the city. I am taking from this article and their choices of the best artists to keep an eye out for.

Roosevelt is one stunning artist who has been progressing over the last year or two:

“His 2013 EP “Elliot” was praised by the international music press, and he toured with Hot Chip, Totally Enormous Extinct Dinosaurs and Crystal Fighters. His self-titled debut full-length, released August 19 on Greco-Roman, the Berlin-London-based label co-founded by Hot Chip’s Joe Goddard, will be accompanied by a world tour with dates in Europe and the United States (many already sold out). Like his label-mates, this record is loaded with instant dance party anthems. Although he was born in 1990, Roosevelt makes music that sounds like a New Wave smash hit: dance-pop with unabashedly big melodic pop hooks, fetching vocals, and memorable sing-along choruses. Trust us: You will hear this record at every house party you go to this year”.

Slow Steve are a quartet that is “Inspired by ’70s science fiction films and the work of Jules Verne, the debut album from French musician Remi Letournelle, formerly of the band Fenster, feels like the vintage soundtrack to an unmade film. Delicately layered psychedelic pop soundscapes, and  vintage analog instruments create otherworldly settings, while the lyrics tell interwoven stories about exploring land, sea and sky”. One of the other acts worth watching (from Berlin) is Laisse-Moi:

“Laisse-Moi, a Berlin-based synth pop trio, was born in a analyst’s office. As a teenager, Manon Heugel grew up as the “girl singer” in “guy’s bands,” but got sick of singing the funk rock fashionable in ‘90s Paris, moved to Berlin, and found work as an actress. But then, in her analyst’s office, she decided she wanted to sing her own songs. She found a German bassist, Christina Riesenweber, and a classically-trained French pianist, Marie Klock, and with a drum machine and vintage analog synthesizers, they formed a synthpop band inspired by German no-wave and ‘80s French pop, narrating stories of Berlin nightlife with a sexy, feminist bent”.

Diät “is comprised of two Australian guys and two German guys playing melodic post-punk that wouldn’t be out of place in the original Manchester scene. Their debut record, “Positive Energy,” co-released last year on Berlin’s Adagio830 and American label Iron Lung, was recorded in the middle of an East Berlin winter, and reflects the relentless dark northern European days when the sun goes down by 4 pm”. ANA ANA is a vital and incredible voice coming from the city right now:

“Now an electropop musician based in Berlin, she creates ambient triphop clearly influenced by artists such as Massive Attack. But her piano remains the distinctive center of her work, calling to mind classic piano-based singer songwriters such as Carole King, Tori Amos and Regina Spektor, while her strong, soulful pop vocals are influenced by American R&B artists (she particularly likes Prince and Aaliyah)”.

It is clear there is a lot of talent and diversity buzzing out of Berlin. I can see why many people are lured there: it is obvious how Roxanne de Bastion has grown and what she took from Germany. Now, she is in London and amalgamating her German experiences with fresh sounds and scents of the British capital. Fascinating to see de Bastion, in essence, having quite a Germanic approach to music – sublimating and fusing that with British tastes and elements. Whether she will remain here and take advantage of the country – or move again further down the line – she is, surely, one of the best artists the city has produced in the last couple of decades. Discovering artists like de Bastion gives us an insight into a nation like Germany and the type of music that is favoured. She will encourage others to investigate the capital and all the terrific music that is being played there. It is clear Germany gets overlooked (compared to the U.S. and U.K.) and warrants a lot more fondness.

Before I go on; a little bit of insight from the musician herself - on her upbringing and connection to music:

"My family has a piano. It has tiny marks on the top right corner, where my Dad used to gnaw at the wood with his baby teeth. Years later, I would play underneath it, while my Dad played his compositions, soaking up the sounds before my hands were large enough to reach a fifth. Our piano is a Blüthner baby-grand from Leipzig and was bought by my great grandfather, Aladar Holzer, in Szeged as a wedding present for his wife to be, Katicza Schwarz, in 1905. I carry her name as my middle name and share her birth year, exactly 100 years later. Their son Stephen de Bastion, then Bastyai von Holzer, learnt to play on this piano and became a professional musician in his early 30s. Shortly after, World War II broke out and, as for countless others, life was derailed, for them and generations to follow. Aladar, Katica and Stephen survived the hardships, but that is a story for another day (or another album). This is about our piano. It too survived; both the nazi and the communist takeover of Hungary and was shipped to England, where it was to live in a council house on the outskirts of Stratford upon Avon. My grandfather did not pursue his music career in the UK. He did, however, keep composing and in the late hours of June 19th 1954, he recorded “The Old Mill”, on a ferrograph. Our piano was given to my father after Stephen passed away. The piano moved back to Berlin in the 1990s, only miles from where it started its journey nearly 100 years earlier. Our collective history, the enigma that is my grandfather and our piano inspired this album. I am so grateful that my father, Richard de Bastion, played it on my song Train Tracks (remotely from Berlin), making this an album featuring three generations of de Bastion musicians. This album is dedicated to Stephen de Bastion"

One of the greatest things about Roxanne de Bastion is her commitment to equal rights and making sure artists are heard. She is on the board of FAC - whose advocacy is as follows:

“The FAC functions as a collective voice, actively promoting transparency and fairness within the industry. Artists possess a persuasive voice in influencing political debates, so the FAC ensures that voice is heard by government and policymakers in the UK, USA and EU.

Within the music industry, the FAC encourages better standards and business practices from record labels, music publishers and other business partners.  The FAC has secured a seat on the board of UK Music, an umbrella organisation that brings together all sides of the music industry.  This ensures the artist voice is heard at the highest level and on an equal footing alongside labels and other stakeholders.

The FAC is also at the heart of umbrella artist organisation IAO (International Artist Organisation) in order to unite artists on an international level”.

The Featured Artists Coalition is a vital movement and one de Bastion immerses herself in. She joined as a Board Director in 2014 and, spoke on a panel (in Berlin) with Travis’ Fran Healy. She is someone who wants the best for her fellow musicians. That is impressive to hear in someone whose hands must be tied up with various commitments, music and personal. I am amazed she finds the time but it is clear how much passion she has for music. In 2014, she conceived, organised and ran the From Me to You (FM2U). It’s a one-day conference that is specifically for independent artists. The panels are moderated to ensure all topics addressed relate to musicians and benefit them – there is no looking at the bottom-line and business interests. It also looks at lucrative technologies and the best ways to aid and develop the music industry. Having travelled around Europe; de Bastion realised a lot of things were being ignored – subject matters raised had little to do with music-making and the real experience of being a musician. She strives to change this and has seen her ventures grow. Few are as proactive and involved as Roxanne de Bastion. Not only is she getting her music right and good: she wants to make certain, when her songs are out there, it is given opportunity, proper exposure and respect.

I am really impressed by de Bastion’s business-minded attitude to music. As much as anything; she wants to make the industry fairer and safer for artists. She is encouraging dialogue and equality – that is something we can all get behind. In my previous review, looking at London’s The Wild Things, I spoke about feminism, sexual equality and how, over the past few weeks especially, there has been a lot of issues surrounding sexism. It seems we, as a people, are not as forward-thinking and modern as we hope. There needs to be real change in music: restructuring how decisions are made and who exerts the most control. The music industry should be a cooperative where the key shareholders are the musicians and listeners. It seems the big decisions are made by men or those who run businesses. They have a very skewed view of how music should run and what constitutes fairness and equality. I will come to this in my conclusion but want to look at de Bastion’s music. I shall touch, briefly, on her album later but I am concerned with the song, Heart of Stone. It has its own story – again, I shall address this – but seems to blend disparate and beautiful sounds into a cohesive whole. I know there are 1960s’ Psychedelia and strangeness in a lot of de Bastion’s work. It is never divisive or two out-there – every element and touch have accessibility and appeal. She ties that with varied compositions elements. Bringing in classic-sounding instruments and sophisticated soothe: there is bohemianism and sophisticated; rich emotion and ample passion. Artists often have an issue concocting great music that brings in diverse and polemic elements. Many fuse genres like Folk and Hip-Hop (well, a few try that) with varied compositions elements. Bringing in classic-sounding instruments and sophisticated soothe: there is bohemianism and sophisticated; rich emotion and ample passion. Artists often have an issue concocting great music that brings in diverse and polemic elements. Many fuse genres like Folk and Hip-Hop (well, a few do!) and others try Pop and Rock. Getting it right is not always as easy as one might perceive. Creating something original and popular is often the hardest thing – the two do not always have a logical bond. There is that desire for something commercial which often contradicts the quality and innovation of modern music. Sounds that are foreign and unusual are not the most obvious songs that make the mainstream.

PHOTO CREDIT: Chris McCracken

I want to look at Berlin and the German music market; artists who strive for equality and better rights for their peers; mixing 1960s touches with varied compositions; a striking voice and its effectiveness; the inspiration behind albums and touring schedules – gaining popularity and what that can lead to. Perhaps de Bastion’s upbringing – a bilingual, highly musical family – was instrumental in her current path. It would be hard to ignore the sounds that would have swirled from the family home. De Bastion herself puts the luscious piano and soaked strings with more conventional and Pop/Folk-minded sounds. I am not sure what de Bastion grew up lionising but I imagine there would have been local sounds and chart acts of the time. She is still a very young woman and is adopting new inspiration with everything she records. It is a bold and impressive approach to music. One would forgive her for reigning things in and replicating her older work: her new album is rife with social commentary and mixed sounds; so many different ideas and expressions run through it. Heart of Stone, as I shall investigate, is a jewel that, once heard, begs you to listen back and unearth its true intricacy and mystery. It is no surprise that, running alongside this wide-ranging musical approach is a startling and singular voice. I have been reading reviews from radio stations and publications who all express the same thing: Roxanne de Bastion’s voice is like nothing you will ever hear. Most of the singers I come across, in one way or the other, are similar to others. Many are gearing themselves for the mainstream and consciously have a very familiar tone – something that has been approved and used to sell millions of records. Those who are unconcerned with that side of things are free to have their own sound and use their voice to truly inspire. That is what one gets from de Bastion. She is a songbird who, according to some high-profile names, is someone you need in your life.

I am not one to argue my betters so have been intrigued by what it is that makes her so special. Perhaps it is that unique background that has led to this stunning concoction. On the one hand, the young artist would have been open to Germanic sounds and artists playing around Berlin. She would get a glimpse into Classic music and Folk. Moving to London, she has had a chance to witness a new nation and a different source for inspiration. There is that bi-nation, bilingual approach to music that extends to her personality and ethos. Here is someone who wants to connect with people and does not believe in entitlement and shutting others out. We are divided by language and balkanised right now. The U.K. wants little to do with Europe: the rest of the continent is bemused and, for no logical reason, there is a rift running through the continent. Not only have the British people made it clear – the majority; not me or many people I know – they would prefer to be isolated; it is galling and a very worrying nationalism. Those, like many of my generation, who want people to join together and fight issues as a united force is finding it hard to have our voices heard. In a way, de Bastion’s singing voice is an instrument that appeals and attracts people from all around the world. It has no graces or demands: a singular delight that shows how universal music is. Why, then, do our people insist on division when they love music so much? Music is an art form that hates separation and hatred. Hearing someone like Roxanne de Bastion sing melts troubles away and shows how silly and frustrating divisions are. There are no easy answers – things will take a long time to settle down – but one should not underestimate the power of music. Roxanne de Bastion is someone who wants to change the world through music and what she is putting out. Not only does she want to make the best music she can: there is a need to have all artists on the same level – making sure each of them gets heard and is not overlooked. That is impressive and commendable from someone who could well easily ignore that and focus on her own sounds.  

I shall come to look at Heart of Stone soon but, before then, a look at the C.V. of Roxanne de Bastion. U.S. artist Lambchop has chosen de Bastion to support them as they tour the U.K. in August. There will be a collection of dates that range from the South Coast to Scotland. On 29th July, she will take to the Cambridge Folk Festival and a great chance to have her music spread to the eager and passionate masses. It is going to be a very busy next couple of months but one that will introduce her music to new supporters. Again, in my last review, I wondered how musicians survive on the profits from streaming services and gigs. The former seems like a risky avenue and one not compensating its artists sufficiently. Touring is the way to make any money – and survive. If small venues are not as stable as they should; getting these festivals and mini-tours are invaluable. Few artists have the same chances as de Bastion but she, as we have seen, is a rare bird that has deserved everything that has come her way. Of course, she will be looking at small venues and spots around the country to subsidise her earnings. Bristol, Glasgow and Manchester are a few of the bigger cities the Berlin-born singer-songwriter will be heading to in the near-future. The fact she has already got big plaudits from stations like BBC Radio 6 Music means there will be a solid fanbase already. I know her social media numbers and growing and she is getting so much recognition and love on Facebook and Twitter. Her eager P.R. drive – assisted by Helen at Folkstock – is getting this remarkable music to stations, new people and nations. I am sure, in the coming years, she will be one of those artists who tours the world endlessly. It seems like an international sojourn would suit her greatly. Whether she is playing back in Berlin or not I am not sure – the following she has here might keep her in the U.K. for a bit.

Before coming to Heart of Stone; its origins intrigue me. The song is about, as its writer explained, about repentance and being born anew. It is about casting off those dark thoughts and washing your hands of blood and dirt. Whether there was a personal moment that inspired the song I am unsure but it is a great and original avenue to explore. What fascinates me about the song is how stunning and mature it sounds. The composition and vocalisation is wondrous and profound. There is something unexpected and mesmeric about the song that seems to suit the lyrical Genesis. That need to cast aside a black soul and not be tied up with dark concerns is reflected in the music. Not many artists are addressing something as universal and necessary through music. So many still get hooked on love and exploiting that for all it is worth. In a way; Heart of Stone could be about love and not being poisoned by a relationship not worth your time. I can extrapolate a lot from that side of things. Unrequited love is always a heartbreaking and harrowing thing so, being madly in love with someone who might be aligned to the wrong man is always painful and upsetting. Not naming names but seeing a friend – whom I have immense feelings for – making questionable choices – or following the unwise part of her heart – means it creates a lot of stress and longing in me. Heart of Stone could easily be about that kind of love: not getting what you want and not letting it consume you. Rather than being obsessed by options and possible ways in - perhaps accepting things might not work the way you’d hope is a healthy and dogmatic realisation. I do not know but songs like this certainly make one think. Songs are designed to inspire and make us richer as people. I am concerned few are taking the trouble to pen something that resonates beyond their own ego and concerns. Roxanne de Bastion is a young woman who has a philosophical approach to music. She writes songs that are designed to help and improve a human. Heart of Stone, her album as well, is full of teachable lessons and wise words. Let’s hope many of her peers follow suit and make music a more diverse and extraordinary place.

Barely a whisper accompanies Roxanne de Bastion as she announces the first words of Heart of Stone. Covered in sand and dirt, in the video, she proclaims how she woke up feeling old. Not knowing what this should be the case; there is a sense of the young artist literally and figuratively feeling age and the years on her shoulders. Maybe that is a comment on the connection to her grandfather. Perhaps there is an element of being burdened by certain issues and struggles. Given we know the song is about washing away negativity; one can see there are some personal concerns that need airing. Knowing what I know about her grandparents – and how she casts her mind back to their realities – it is understandable she would want to rid her body and mind of any bad feelings. In those initial stages, one is entranced by the purity and stillness of the vocal. It is almost child-like in its delicate nature. There is a sense of social acrophobia in the heroine. She does not want to go out and tackle the world around her. Maybe the state of affairs in the world has taken their toll and there is little need to fight it. A bit of defeatism and hopelessness is on her shoulders. With the voices swirling in her head; many could forgive her for shutting away from the crowds and resting. Instead, the doors are being flung open and she is embracing the world. Many might literally interpret the song as a sense of frighten: not facing the perils of the outside but having to swallow any anxieties. To me, I feel there is a personal struggle that is much broader and larger than the world around her. That seems odd – given the size of the planet – but the pains and strains one can carry in their heart. Perhaps there is a lost love or personal relationships that need to be exorcised. It is interesting because the words are broad and personal at the same time. There is no specific event

As the heroine’s body gets stronger and more determined; the composition matches her and heightens.  More elements come into play and one starts to hear the piano become more prominent – other instruments in the mix. The production gets hotter and more lustrous. The vocals, as such, match the surroundings and become more energised. Roxanne de Bastion is not someone who changes her ethics and sound without necessity. Her voice retains that beauty and grace but needs to inject more urgency and rawness when the lyrics call for it. This is not a cynical ploy to awaken the senses: it is a natural progression and evolution of the story. I became more engrossed as the song continued and what it could symbolise. Few artists can hook you in and get into the heart as readily as de Bastion. Heart of Stone is a general song that urges people not to be defeated by the worst instincts and urges. Knowing what I have unearthed about de Bastion; I wonder how many areas the song ventures into. Maybe there is a symbolic aspect in the video – on the ground and face covered in mud/sand. I think about the music industry and how influential that is. Maybe there are little warning signs to those who hide behind desks and masks – not really thinking about the equality and fairness in the music industry; concerned with faulty ways and their own egos. Given her family history; perhaps there are warning to a Europe that is, in many ways, as divided and fraught as it was in 1939. There is a delirious and cherry-lipped charm to the composition and vocal in the song. It bursts into life and has its own charm and personality. One moment, you are stunned by its emotiveness and seriousness: the next, enchanted by its merriness and defiance. The heroine woke up cold and alone; she was dealing with something serious but, in a single moment, decided to change things.

There are so many different notes and ideas that work away in the background. Whilst the heroine is facing the changes of the day and the way she approaches thing – the composition seems to summon alterations in the climate and emotional reflections. Strained strings and swooping notes; tinkle of the piano and percussive notation. There is so much working away but Heart of Stone retains a simplicity and focus. In the video, the heroine draws a chalk picture of a piano – colours burst out of it and it seems to represent the clash of colour and black-and-white emotions. Things are not as simple as they appear (black-and-white) whilst realisation and epiphany can be a colourful realisation. Music is a way of unlocking that freedom but so too is purging things and feelings that bog you down. From feeling sleepy and wanting to retreat; there is this renewed energy and determination to tackle things head-on. That is inspiring for anyone in the same predicament but adds curiosity to the song. I feel like Heart of Stone is more personal and intimate than I first thought. That feeling of coming to – she literally says it in the song – is a real turning-point. Having washed the blood from her hands (whether a symbol of guilt and accusation or literal) there is a chance to improve and embrace happiness. Few songs go through such a transformation in such a short time. One gets the sense the origins of this pain are more complicated than a couple of minutes of music. I assume there was a struggling period and real dark period. The key to unlocking the positivity and hope inside is what we hear in Heart of Stone. There is salvation, ambition and urgency. The song continues its spirited and galloping sound. The percussion and piano entwine and rolls around the floor as the heroine’s voice is at its most expressive and stunning. You are compelled and struck by the power and beauty that remains throughout the song. Heart of Stone is the perfect representation of Roxanne de Bastion and the sort of music she is putting out. Heart of Stone is a brilliant song whose nuances and brilliance will have you coming back for more – keep an eye out for announcements of new music very soon.

Before I revisit some of my earlier points; I want to look at Roxanne de Bastion’s album, Heirlooms & Hearsay. The idea of an heirloom is not something one thinks about and connects it to music. In a way, all of music belongs to every one of us. It is out chattel and inherited bequeathment. The heirloom of music is to be treasured and passed to new generations. The ‘hearsay’ part of the album could be about rumours and toxic gossip – the way that kind of talk is not helpful. Maybe it is about false promises and chasms that exist between the reality of the music industry and the way it is being run. In discussing the album, de Bastion has stated it is about her family and the differences between generations. Not identifying herself as either German or British – not a fan of the notion of a nation state – we are all one of the same and a lot richer than previous generations. De Bastion’s grandparents were caught up in the war and had to evade terrible social poverty and physical harm. It seems, as a more privileged and, in a way, ignorant generation, we forget what life was like in the late-1930s and 1940s. De Bastion’s grandparents made it to the U.K. in 1947 and just as well – if they did not, we might not have had Roxanne de Bastion on the planet. She is thankful she is here and feels this entitlement – the sense we should all get what we want all the time – ties to a sense of class and the modern age. With the Internet controlling our lives – social media ruling many – we seem unable to disconnect from the machine and bond with our fellow man. The U.K. is a wealthy nation but there are huge differences between those in the poorer quarters – compared to the richer in our society. Many who have money and success do not think about those less fortunate and take the time to do anything about it.

As a nation, we are less human and aware of the world around us than ever before. Whether that is because of technology and how buried in it we get – perhaps there are other reasons. In a lot of ways; Roxanne de Bastion’s album addresses that and why we get entangled in negativity and selfishness. Heart of Stone is about washing away negativity before our hearts cement and close off for good. Other tracks on the album ask why we find it logical to think of ourselves and push others away. We do this in our own lives but, as a country, we are showing how singular and stupid we can really be – cutting ties with a continent that has supported us through the decades. Having gone through two World Wars; it seems all that the brave men and women fought for – unification and a solidified continent – is being ripped apart. It shows ingratitude that has inspired a lot of anger in de Bastion. Thinking about her grandfather, especially, and the things he had to go through really lit a spark. Half the album looks at him and the stark realities of his life. The other half looks at now and how the world has changed. It is a fascinating blend that is like a concept, in many ways. It is a history of Europe and how the continent has evolved since the 1940s, especially. In a lot of ways, we have not moved on at all: certainly not learnt any lessons and continue to push others away. Our means are less forceful but the motives are, in a way, more disturbing. There is no issue of national security and world peace: we feel we are better off without our European cousins. I urge people to get the album on Spotify – or go to de Bastion’s official website, too – and listen to a record that teaches and informs. It points at where we have come from and how we need to improve as a group of humans. Recorded with some great musicians; the L.P. has a great live feeling. It makes the songs sound more stark, beautiful and direct. It is the start of things for de Bastion and indication she is an artist who will be a worldwide treasure very soon.

I will close this down but, before then, a kick nod to the subjects I discussed early on. I will come back to Germany in the last moments but want to come back to artists who promote equality and look out for their peers; a bit on clashing decades and sounds – what a truly terrific voice can do. Roxanne de Bastion’s work across music – as an artist and what she does with the Featured Artists Coalition – means she is getting her name and songs out to a lot of people. In a way, her music is stronger because of what she does with F.A.C. She sees, first-hand, the struggles musicians go through and what divisions exist. One can apply this to aspects of the album: the young artist talking about her contemporaries and the bad deal they get. In any case; de Bastion has that empathy and insight into how the music industry truly works. She knows changes need to be made and is aiming to get better rights for musicians. That is commendable but it is a struggle and fight we all need to be a part of. If we want the music industry to grow and survive; it is fundamental and paramount we engage with it and ask questions. It is not the case there is little money available to ensure music’s heritage and foundations are kept solid and visible. The government has a chance to contribute; those who make decisions in music have power and influence – it seems there is a lack of effort and consideration for something as wonderful as the music industry. It would be a crying shame were we to live in an age when our best small venues are extinguished and replaced. Gentrification and changing tastes are seeing venues being closed and replaced with bars and flats. Maybe people are staying in more and it is not possible to ensure the survival of all venues around the country. That is something we might have to face but there are so many other issues and aspects that need addressing – Roxanne de Bastion is a woman who gives her heart and soul to making things fairer, better and more human. She acts as an ambassador and envoy of music – someone who can really make a difference.

Looking and listening to Roxanne de Bastion and I have every faith she will be a star of the future. She is a beautiful and strong woman who concerns herself with the business, morals and sustainability of the music industry. She wants to change national perceptions and eradicate the interconnection Berlin Wall of division that has blighted the landscape. In essence, having descended from grandparents involved in the Second World War; she knows, through them, what life was like for them in the 1940s. It was a hard and modest time that was as synonymous with destruction as it was normality. We do not have the same threat and problems to contend with. I think we ignore and forget how the world was and think, as we are free from war, we should go to the other end of the spectrum and hang on to a privilege only earned through the freedoms and liberties our previous generations fought for. In any case, there are people like Roxanne de Bastion who are ensuring we do not become completely ignorant and naïve. Not only is her passionate speaking voice causing waves: her striking and heavenly singing voice is causing quivers and tremors. I have heard few singers that can startle and silence people. Many are hailing it as one of those truly original and legendary sounds. I have heard it in the context of Heart of Stone and can share that opinion. Not only does the British-based songwriter harness her extraordinary voice: there is a keen passion for various genres and sounds. She is not someone reserved to a genre or mould – like so many of her contemporaries. I know musicians that replicate others in order to find some form of cheap success. For Roxanne de Bastion; she has the fortitude to create her own voice and tackle music her own way. In the short-term she might have to fight harder but, in the long-term, she will reap the rewards.

Roxanne de Bastion grew up in a German household but turned into a woman whilst in our country. That combination of Germanic childhood memories – the music of her parents and local musicians – with the chart and mainstream acts she would have experienced here (and local gems) have combined in a rich and astonishing melting pot. Maybe it is her family and bi-nation exposure but I’d like to think de Bastion was instilled with the curiosity and endeavour from birth. I love how she employs bits of the 1960s and the psychedelic sounds of the time. There are hints of earlier Folk artists and some artists, no doubt she would have heard in Berlin as a child – the bands and acts reserved for that city. Throw in some modern artists in Britain and you have that unique Roxanne de Bastion sound. Coming from a city like Berlin; she would have been inspired by the fantastic artists playing around there at the time. She is away from there now but, even if she has left, the spirit and quality have not dampened. I mentioned a few artists earlier but they are the tip of a sturdy iceberg. Maybe London has the better reputation but Berlin is becoming a natural calling for many musicians. I know artists there who are fascinated by the range of clubs and venues in the city. There are dive bars for Rock bands and those untampered, decaying areas that inspire the heaviest and sweatiest bands. There are great Jazz clubs and plenty of choices for those who want something more sophisticated. Being a cosmopolitan city; there are big arenas and theatres – all manner of spaces for new musicians to cut their teeth and be inspired by. Visit Berlin and you will experience a different people and way of life. More connected and less distant than many here: it is an extraordinary place for art and music. I feel more musicians should take guidance from Berlin and the way things are done there. Maybe the international media is more concerned with British and American music but there are a lot of promising artists that will make their way to international focus. Roxanne de Bastion has taken all the spirit and colour from Berlin and married it to the differences and qualities of Britain. That goes into a musician that has revealed a stunning album – Heirlooms & Hearsay – and the single, Heart of Stone. In fact, the song is part of a double A-side. The Painter is the other part of it, could not have the time to review both, and was co-written with Thom Morecroft. It is a rare co-write and one that just sort of happened – showing de Bastion can work in various situations and create music in different ways. Discover her music and what comes from a rare and special woman. She wants to make real and positive changes in the world of music and has the power to do that. Listen to a song like Heart of Stone and you would have to ask…

PHOTO CREDIT: Helen Meissner

HOW could you possibly ignore her?!

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