INTERVIEW: DYLYN

INTERVIEW:

DYLYN

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THE wealth of Canadian talent means, today…

I get to feature the wonderful DYLYN. She talks about the inspiration behind her latest single, Wolf, and why relationship failures/experiences have compelled her work – and why she is in a happier, more settled position now. I ask whether we can expect to see DYLYN in Britain; what kind of music influences her; whether there is more material later this year – and whether music is therapeutic to her.

She tells me more about the upcoming E.P., Sauvignon and a Kimono, and what we can expect from it; the albums that mean the most to her; the musical memories that stand in the mind; whether the Toronto music scene is productive right now – some advice she would give to new artists emerging.

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

So happy I got to release this record. I’m sure you can relate to the fact that the weather’s been so up and down (in Canada). I’ve slipped ‘banana peel-style’ twice already: just waiting for the third time (smiles).

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

Heyyy everyone. My name is DYLYN - short for ‘Gwendolyn’. I was born in Toronto, raised in the 'burbs. I fell in love with Led Zeppelin at fourteen and realized music was going to be my future; did the whole Garage band scene; played, played, played shows. I started my solo career and, up until recently, I’ve truly found a sound I can call my own. I’ve always idolized Debbie Harry and Joan Jett - to name a few. I like to pull Punk-y drums and synth - and, mixing it with new sounds blends perfectly with my deep vocals.

Being you is the most important thing in the music world - it’s real and it resonates. 

Wolf is your new single. Can you tell me about the origins and how it came to mind?

The past few years have been a bit of a battle. On the upside: you never run out of stuff to write about. Post break-up blues lit the fire - and out came Wolf.

It’s the nature of not giving a f*ck that led to this tune.

It seems a guy - a hot one at that - led the heart into making a bad choice. Did you learn a lot after recording the song?

Isn’t it always about a guy?! I learn a lot about myself when I write these songs. You have to narrow down your real, raw emotions in two-three minutes. Regrets? Never. Things happen for a reason. If we can become stronger from the situation, then we’re in a good place…

Do you feel music has been therapeutic and personally enriching? Has it been a tough last few years to work through?

Wow; it’s as if you knew what I was thinking. Yes! It’s been incredible. I’m happier than ever. I’ve found an incredible guy and I’m a much more positive person. I used to always let negative thoughts get the best of me - but I’ve consciously made an effort to flip that switch.

Good, good; good, good vibrations.

Sauvignon and a Kimono is a great title for an E.P.! What kind of stories and ideas can we expect to hear in the E.P.?

Sauvignon and kimono was my lifestyle while recording the record.

I love a kimono. I’d wake up, go to the studio; come home, put my kimono on and either have a few glasses of Jack (Daniels) or some nice red wine - and repeat. Every song is a stage, emotion or event that transpired in the past few years: breaking down, losing it; losing it again and, mainly, growing.

What music did you grow up listening to? How early did music come into your life?

I probably performed my first song at four-years-old - but it was just a natural instinct. I remember growing up listening to the Beach Boys, The Beatles; then transitioned into Classic-Rock at around fourteen. I have an extensive record collection - and my house is covered in Rock and Roll memorabilia.

It seems you throw a lot of genres and sounds into the mix. Do you think that variability and diversity lends richer emotional weight to your music?

Definitely: I love mixing old with new.

The eras that have influenced my music changed the industry in ways we don’t understand. Taking those seeds and dropping them into new stuff makes it all come together nicely. I love listening to current songs and thinking: ‘Wow; this reminds me of something from the 1970s but I can’t put my finger on it’ – nostalgia; even when it’s hot-off-the-press.

You hail from Toronto. What is the scene like for new musicians? Is it an inspiring city?

I live in the suburbs and rarely get downtown. I’ve written most of my music with producers in L.A. but, funny enough; most of them are Canadian. I can definitely say some incredible acts have broken out from here…definitely something special in our water.

IN THIS PHOTO: Greta Van Fleet/PHOTO CREDIT: Getty Images

Who are the new artists you recommend we check out?

All the artists I’d recommend are dead or not playing anymore...

In terms of new stuff; there’s an incredible band, Greta Van Fleet - the singer sounds like Robert Plant!

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

Such a good question…it changes all the time!

Rumours – Fleetwood Mac

The songs never get old - and I always seem to find another lyric that relates to my life.

Led Zeppelin IV – Led Zeppelin

They are just Rock and Roll gods (“We’re not worthy”).

Michael Jackson – Off the Wall

He changed everything in music. I always go back to this album because it’s timeless.

Can we see you tour soon? What gigs do you have coming up?

I am going on tour! I'm going to Germany in May. I will definitely be announcing dates soon.

Will you come to the U.K. at some point?

Trying to set that up right now! I’m dying to go there and play…

Any New Year’s resolutions made this year? What do you hope to achieve, personally, in 2018?

Just to be more of a positive thinker. It seems like such a simple task – but, sometimes, we can be our own worst enemy.

Looking back on your time in music so far; are there favourite memories that come to mind?

I love touring...

Put me on a tour for eight months straight and I’ll enjoy every second of it…or finishing a song and sitting on the couch at 6 A.M. in the studio thinking: ‘Wow, I did this’.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Ramble On by Led Zeppelin

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Follow DYLYN

Twitter:

https://twitter.com/callmedylyn

Facebook:

https://www.facebook.com/callmeDYLYN

Instagram:

https://www.instagram.com/callmedylyn/

Spotify:

https://open.spotify.com/album/2BTdHbNV5Pnaq0nUOIh7Jl

INTERVIEW: Milo Gore

INTERVIEW:

Milo Gore

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SPEAKING with Milo Gore is always…

a bit of an experience. It is interesting revisiting the musician’s work – as I ask about the latest track, Towel on the Door. I learn about its story and whether there is new material coming soon; how Milo Gore found his band; the artists/albums that have inspired his music; what kind of tour dates are coming up - and where we can catch the guys play.

I ask about Milo Gore whether there is enough variation in music and, in terms of his material, it has varied and evolved; which new artists are worth checking out and getting behind; if he has any resolutions and ambitions sorted for this year – how the fantastic Milo Gore sounds come together and conspire.

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

It’s been tip-top, thank you.

The band and I have just been getting ready for some upcoming gigs we have - so, we’ve just been practising. We’re all back at uni now; so it’s much easier to organise everything.

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

I’m Milo Gore. I’m twenty-two and I live in Falmouth, Cornwall. I play with a bunch of my mates in an Alternative-Rock band - and that’s pretty neat. I released my first E.P. in July 2017 - and that’s out on Spotify and all that - it’s called Watch the Tide. I guess we’re just rough undiscovered sound at the moment but we going strong - especially with this New Year.

Towel on the Door is the new single. What is the story behind the song?

It’s another soppy romantic song!

It’s about another breakup I had. It’s almost a lead-on track to Coco (from the first E.P.) as it’s the same girl, different breakup; different breakdown. Towel on the Door has two funny reasons why it’s a funny song title: one of them being the fact that, when I first showed it to my drummer, Luke; there was simply just a towel hanging on the door!

How, would you say, it differs from previous releases?

It’s an all-acoustic track...

I never really enjoy just releasing a fully-acoustic track as I feel a band adds so much more in terms of mood and dynamics – but, in this case, I didn’t think there was really much to add; it spoke for itself. Stanley Box, my friend and producer, did such a good job and kept it warm and lo-fi…just how I wanted it.

He was instrumental.

Will there be more material later in the year? Can we expect an E.P. or album at all?

Yes, yes, yes! There will, hopefully, be our two-track E.P., Too Much Too Soon, out at the end of February. Very excited for these two. One is an absolute banger, co-written with Jay Beale (look him up if you don’t know him; he is a genius). But, yes; very excited to get that out for y’all.

Stay tuned; because I think it could be a big record for us...

How did you come to meet your band? Is there quite a close relationship between you guys?

We all just met at uni and we all (just) clicked automatically. Such a great dynamic in our band: everyone has their own genuine personality. The best thing is everyone can be as loud as each other!

I couldn’t do anything without them. They have been amazing to me and my music.

Your music has quite a fresh and unexpected sound. How much of your childhood musical heroes do you put into your own stuff?

I guess. I don’t know any covers - so I couldn’t say I got their guitar parts and put them in my songs. However, vocally and melody-wise; I guess I do take a lot of inspiration from the people I listen to - even if I don’t know I’m doing it. But; people like Bon Iver and Ben Howard do inspire me greatly.

The genius songwriting really captures me.

Do you think there is enough variation in the music scene right now? What trends do you expect to see popping up this year?

Ooh god. I’m awful with trends and all that.

My music knowledge is the size of a fish. Ahah. I just do my own thing. I would say there is plenty of variation. The middle and core consisting of the ‘Pop sensations’ etc. may be a bit saturated - but I defo think a lot of the youth have recognised that and are starting to create really inventive sounds…even if we are a bit commercial ourselves.

IN THIS PHOTO: Rex Orange County/PHOTO CREDIT: Getty Images

Who are the new artists you recommend we check out?

I’ve been listening to a lot of Rex Orange County. I f*cking love the music so much. The lyrics are genius. Urm...Nai Harvest are sick. Their drums are so good - and the fact that it’s a two-man band is insane when they make that much noise. Then I say it in every interview…listen to Bon Iver’s new album if you haven‘t. He is stupid-good. It’s beautiful; everything about it.

Maybe not all new - but two are new to me! That’s the beautiful thing: maybe the market isn’t saturated after all...and there is a lot of diversity!

IN THIS PHOTO: Nai Harvest/PHOTO CREDIT: Jon Cuadros

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

Ben Howard - I Forgot Where We Were

It got me through a really dark time. Lyrically amazing.

Bear’s Den – Islands

Harmonies, the hooks; song structure and writing = class.

Bon Iver - 22, A Million

Beautiful the whole way through. It takes you somewhere else - which is a very powerful thing.

Is there any advice you would give to fellow artists coming through right now?

Urm…just keep going... I dunno: we ain’t anywhere ourselves! But; I would say maybe we are going in the right direction. So, I guess…just keep making contacts, gigging and making demos. Keep growing your trade and practising it - as it only gets harder the longer the journey goes on.

What other gigs do you have coming up as we head through 2018?

We are playing Newquay at Whiskers Bar on the 21st Feb, and then, a few Sofar Sound dates and Balconytv dates - that we are in the process of sorting out.

We also have a few more gigs lined up with dates to be decided, too.

A fresh year is here. What do you have planned in terms of personal goals and ambitions? How did you and the guys see in the New Year?

I gotta get fit: I’m so out of shape. It’s embarrassing.

So; I’m going to get back to my footie, for sure. I’m actually going sober as well. I’m thirteen-days clean at the moment - long way to go. Musically, big plans. We want to keep growing as we are.

In our last interview; you mentioned you were getting a new tattoo (with ‘Forever, Whatever’ inscribed). Any plans for new tattoos this year? What was the reason behind your current one?

The tattoos are all off the back of my Watch the Tide E.P. They are just symbols to me that each has a special meaning; often connected to my depression and all that jazz. But, to be honest, I like to let people decide what they mean…”Forever Whatever”, as I say.

I guess that’s what it means.

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

Wicked, thank you. Urm; ok. I’ll go for Ben Howard - Time Is Dancing.

Cheers! Thanks for having me. Milo

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Follow Milo Gore

Twitter:

https://twitter.com/MiloGoreMusic

Facebook:

https://www.facebook.com/MiloGoreMusic/

Instagram:

https://www.instagram.com/milogoremusic/

YouTube:

https://www.youtube.com/channel/UCjvk0KX6ZisK5Y-hIwWxGPw

SoundCloud:

https://soundcloud.com/milogoremusic

FEATURE: Too Much Too Young? Ensuring We Do Not Place Unreasonable Pressure on Our Best Young Artists

FEATURE:

 

Too Much Too Young?

IN THIS PHOTO: Billie Eilish/PHOTO CREDIT: Getty Images

Ensuring We Do Not Place Unreasonable Pressure on Our Best Young Artists 

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THERE is much to champion and celebrate as we immerse…

IN THIS PHOTO: Tom Grennan/PHOTO CREDIT: Getty Images

ourselves in the waters of 2018. I have been scanning the horizon and seeing which artists will make big breaks this year. It is all very exciting as new talent emerges: the fact some legends and established artists are releasing material soon is another reason to be cheered! One of the most obvious trends coming through is the proliferation and augmentation of young artists. In my line of work – reviewing and interviewing musicians – I get to see a variety of awesome people do their thing. I connect with a lot of them and, through social media feeds, can track their progression and updates. One thing that strikes me, especially with young artists, is the pressure they feel. This applies, I guess to those in their teens and early-twenties – getting success and recognition early can be a good thing but, at the same time, cause a lot of anxiety and stress. I am excited great artists like Billie Eilish, Sigrid and Tom Grennan are getting a lot of love and buzz. Sigrid, especially, is getting some passionate feedback and attention. I am hopeful she will make big strides - but I wonder whether all the spotlight and glare is a bit too much. We want to see these artists flourish and fly but, with all the media attention and expectation – is that a lot to bare for someone so young?! Billie Eilish - the much-hyped U.S. teen - is school-age and, as such, has to balance musical duties with academia...

PHOTO CREDIT: Getty Images

She seems, on paper, a mature and level-headed girl – sullen at times with a definite edge and (authentic) attitude. I am pleased talent young female artists are being proffered – but they will only sustain and continue to record if they are given a modicum of space. Sigrid and Eilish are getting their faces everywhere: they are never too far from vacillating column-inches; journalists proclaiming them in terms few could call hyperbole. I guess, when an artist shows promise, journalists and radio stations are keen to get them out there and do all they can. That involves interviews and reviews; lots of new stories and praise. It is understandable, sure, but I wonder whether all that glare and expectation has a damaging effect. There are so few artists remaining and producing notable work years down the line. You get sustainable artists but, largely, bigged-up new musicians have a brief explosion; they release some great music but are replaced by someone new before too long. Maybe that is a sign of the music industry today – always wanting something new; too hectic to foster and protect artists – but I want to see the likes of Grennan, Sigrid and Eilish endure. I can throw in other names like Dua Lipa, Iamddb. and Shame. These artists vary in age – early-teens to twenties – but they are all (fairly) new on the block.

Ensuring these bright young stars are promoted, yet have the room to create and evolve years down the tracks is, to me, a crucial balance. Barely a week goes by without a new feature on Sigrid or Billie Eilish – they are not the only ones but are perfect examples I can throw in. There are a lot of blogs and websites out there who want to throw their kudos in; people are keen to play the songs (of these artists) and spread the word. That is understandable but I have a fear the constant glare and celebration is a bit too full-on. Nowadays, before a young artist has even released their debut album; so many quarters of the media have made predictions and put their name out there. Another side-effect is summoned: a slight fatigue among the public. I am keen to learn more about the ‘ones to watch’ artists but, even this early in the year, is there too much saturation and obsession?! One cannot fault the media too much: we are charged with promoting the best musicians, and so, it is understandable so many are hyping the same artists. Maybe a teenager like Billie Eilish can cope with that focus and exposure: I fear, by the time she gets around to recording a second album; the fascination will fade – regardless of how good it is; she has not even recorded her debut L.P., yet! Maybe, then, there is a two-point issue: getting too hot on an artist and, before long, losing interest; creating more anxiety and pressure on musicians who already have a lot to shoulder.

IN THIS PHOTO: Sigrid/PHOTO CREDIT: Getty Images

I would suggest, after the explosion of end-of-year-polls and start-of-year predictions; give these artists a chance to bed-in and get their work done. What happens is, straight after the polls/predictions are out; the media clamber and race towards these artists – and they are a fixture of the music pages for weeks on end! Then, when the next/first single comes out; there is another tsunami of acclaim and expectation – the artist is already exhausted before they have released their album. The industry is not doing enough to preserve new talent and help develop young hopefuls. One might argue a (relative) lack of media oxygen will see a young artist overlooked and trampled. I take that point but it is possible to create a balance. My worry is we are being offered these tantalising artists but, by the summer; how many of us are going to be talking about them still?! The over-exposure means many will fall away; there is a feeling, among these acts, they need to release a lot of material to keep the love coming their way. Anxiety levels are rising in the music industry and, with each passing year, the problem edges towards the shores of ‘epidemic’. I feel a talent like Tom Grennan, for example, could create more freely and naturally if he is provided respite now. He is getting a lot of positive energy – and rightfully so! – but the public is keen for material that matches that expectation – allow the young man some room to create and consider! I am sure he loves all the support he is getting but can the finished results – the material itself – ever match the hype artists are given?!

PHOTO CREDIT: Unsplash

I guess I am part of the problem: I am eager to support and highlight the great young artists in our midst. I am excited about Shame, Pale Waves and Yonaka; Sigrid, Billie Eilish and their ilk. They all have a busy year ahead but, rather than feature them in (endless) interviews, features (irony intended!) and articles – provide a pause and then, when new material is out, put the foot back on the gas! I want to see these artists get praise and attention this time next year: not be replaced by the next band of hopefuls (who will, you’d imagine, be forgotten by the end of the year!). There is a cyclical, factory-line process whereby fantastic young artists remain for a fairly short time. I know how good the proclaimed are: they are some of the best young musicians we have seen for many years. I wonder what all the circus and heat does to a young soul. Most artists are prepared for the realities of music – the crash-course of observation gives them an insight... – but all that demand and pressure adds to anxiety levels. We are being told modern artists are writing more about personal struggles and stigma; anxieties and pains – will all that media glare exacerbate that and, in the process, create health issues?! It is the issue of longevity and pace that concerns me most...

I want these newly-crowned artists reign and record years from now. I understand the media will not view them in such heady terms this time next year but, as the intensity builds; will the young stars of 2018 have the ammunition and energy to continue next year – and many years from now?! The solution is not obvious – what I do know is placing that amount of scrutiny, however positive, on a teenage musicians can be quite damaging. Maybe there is that danger of over-expectation: emboldening a musician so sharply means public perception and demands will be high. There are so many different aspects and burdens put onto the shoulders (of the new artists). I hope the media continue to back the finest young musicians coming through but, as we head into spring; afford them the distance to get down to recording and await their next move. From there, when they release a single/album, put the pressure back on a bit; then, when they progress later in the year, make another pitch. It is a more balanced and staggered-out promotion that eases some of the pressure and ensures there is consistent backing. We must not ignore and neglect these artists when we head into 2019 – desperate to embrace fresh wonder and forget about the talent being hailed this year. There is every possibility bright-eyed artists like Sigrid will have a stunning and prosperous 2018. We need to ensure incredible musicians are backed and cared-for; they are recognised and given due respect. More importantly; if the media ensures they allow them time to create – and not put too much pressure their way - that means the artists will have space and freedom to…

IN THIS PHOTO: Iamddb./PHOTO CREDIT: Getty Images

GROW and fly.      

INTERVIEW: Erin Pellnat

INTERVIEW:

 Erin Pellnat

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I am excited to revisit the music of Erin Pellnat...

as the Brooklyn musician is someone I am very excited about right now. She discusses her new single, Neighborhood Boys, and whether there is going to be more material. I ask about her influences and what the music scene is like in Brooklyn/New York; if there are plans regarding U.K. dates; albums that are especially important to her – if there are new artists out there we should keep an eye on.

Pellnat reveals her inspirations and gives some advice to news artists; whether she will be recording any more music with her band, Caretaker; how her father drives her music (Chris Pellnat is a successful artist) – and how she spends her downtime.

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

Very busy!  I’m a musician but I also have a ‘day-job’ - so I’m always on the run in New York City!

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

I’m an unsigned singer-songwriter from Brooklyn, New York. I am the lead singer of the band Caretaker - as well as doing my own solo music and collaborations with other musicians. I’m a graduate of City College where I studied Jazz Vocals - not sure if you can hear that influence in my music though, but it’s there!

The last time I encountered your music was when I reviewed the track, Dream in Color. How do you feel you have developed and changed as an artist since then?

I am always moving forward...

There is so much great music being created all the time and I always want to be part of that - to contribute to what is happening in the culture in my own way. I think my musical style is constantly evolving based on what I hear out in the world and who I work and collaborate with.

Neighborhood Boys is your latest track. What is the story behind the song?

This song is about class and love...

You know how, if you ride a bus; each bus stop is in a different neighborhood?! Some neighborhoods are wealthy, some poor. The singer is secretly in love with a guy from another bus stop – and, hence, a different socio-economic class.

It seems like, when it comes to subjects about love and life, you take an original approach. Do you think a lot of songwriters lack unique flair and real depth?

I think there are so many wonderful songwriters out there I admire so much – sometimes, it’s because of the depth and resonance of their work; but, other times, it’s because they can write so simply and straightforwardly - with no apparent 'flair' at all. 

I don’t think there’s a lack of depth or flair: it’s a matter of what kind of song it is.

Is there going to be more music coming this year?

I’m always working on new music; both with my band and solo so, yes, expect more!

What sort of music did you grow up listening to? Were you raised in a household that promoted broad and eclectic music tastes?

Yes. I was definitely exposed to all types of music growing up: from Rock and Reggae to County and Classical.

Your father is a successful and established musician. How much have you learned from him?

My dad is a big influence and a huge supporter of me and my music. I think, what I’ve learned most from him, is to be yourself and let everything flow from there…

Brooklyn, where you are based, is still one of the most sought-after spots for new music. Has the landscape changed over the past few years? It used to be famed for its awesome Hip-Hop and Rap. What kind of music is favoured there now?

There’s still plenty of great Hip-Hop and Rap in Brooklyn - and tons of great Indie-Rock. The scene continues to change with all different types of music - some gets more attention than other types - but it’s all happening all the time! 

IN THIS PHOTO: Lloyd Vines

Who are the new artists you recommend we check out?

In Brooklyn, there’s so many: I’ll just point out a couple: I like the Hip-Hop artist Lloyd Vines and the Rock band Citris.

IN THIS PHOTO: Citris

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

Simple Things by Zero 7, Tragic Kingdom by No Doubt and Getz/Gilberto by Stan Getz and João Gilberto.

These three records were seminal in terms of introducing me to the possibilities in very different musical genres.

Is there any advice you would give to fellow artists coming through right now?

Stay true to your vision but, since music is a collaborative art; be open to others contributing and helping you shape your vision.

What tour dates do you have coming up? Can we see you in the U.K. anytime soon?

Unfortunately, I won’t be coming to the U.K.

Right now; I’m working on a new Caretaker record - after which, we’ll be doing more gigs in Brooklyn.

Do you have any ambitions of resolutions for this year at all?

It’s a new year and my goal is simple: I hope to make lots of great music!

Will you get any downtime at all? How do you spend your time away from music?

I love hanging with friends in Brooklyn and watching movies. I know that may not sound too exciting but, sometimes, you need to just put work aside and chill out. It’s important to step away, recharge and come back to music with fresh ears.

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).

Equus by Blonde Redhead

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Follow Erin Pellnat

Twitter:

https://twitter.com/erroneousthep

Instagram:

https://www.instagram.com/erroneousthep/

BandCamp:

https://erinpellnat.bandcamp.com/releases

INTERVIEW: Kaia Kater

INTERVIEW:

Kaia Kater

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IT would be tempting to come back to the U.K...

regarding my interviews but, with so much international talent on display; I have been speaking with Canadian artist, Kaia Kater. She talks about her Afro-Caribbean roots – how they affect and influence her music – the stories and inspirations that went into her 2016-album, Nine Pin; whether we can expect a follow-up – some of the new artists we need to check out.

I ask Kater the music scene where she is; whether she is excited to be in the U.K. (she is touring through January and February); the artists who inspired her growing up; why Nina Simone is an idol; the three albums that mean the most to her – and whether she has any resolutions/aims for this year.

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

Hey! It’s been great. Thanks for asking!

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

I am a musician and songwriter. I play the banjo, piano and, most recently, the guitar.

Nine Pin was released in late-2016. What influenced the album’s songs? How would you sum up the record?

Sure. Nine Pin was a culmination of my time living and studying old-time music in Elkins, West Virginia - as well as my growing desire to write songs about my own life and perspective. There are a plethora of traditional songs as well as original ones; joined together by Moog, trumpet and dulcet electric guitar songs.

How does it feel looking back at the album? It has gained huge praise! How humbling is that?!

It is humbling: I had no idea it would receive the positive attention that it has. It’s nice to see a piece of your art – of your heart, really – affecting people in such a way.

​​​​​​​

Last year; you went on a U.K. tour supporting Rhiannon Giddens. What was that experience like?

It was a lot of fun. I’d never played to such massive crowds before and I thoroughly enjoyed it. It was lovely to open for such a seasoned and powerful performer as Rhiannon - I learned so much from watching her show every night.

Toronto is where you are based. I have not experienced too many Bluegrass/Blues artists from that area! Is it quite a rare sound there, do you think?

Sure - but not more than anything else. Music of all styles has the ability to travel and reach new ears. There’s quite a lot of fantastic old-time musicians in Toronto for that reason.

Canada is among the most fertile countries for music. Why do you think this is so?

I believe that the government has a large part in it: arts agencies help to fund musicians, dancers and visual artists. We get further along in our careers because of the generous aid being offered to us.

I notice similarities to Nina Simone (in your music). Is she someone you are inspired by? Which artists are most important to you?

Ah yes: I’m definitely inspired by Nina Simone.

I’ve loved her since I was young; she just had a way of performing that was quite entrancing. In my piano lessons, I’d request (to learn) her songs. I learned Forbidden Fruit once when I was thirteen and performed it onstage. It was the first time I’d sung and played live.

It was terrifying, but also gratifying, because I was belting out Nina’s words.

Can we expect any new material this year at all?

Yes. I am currently writing for my next album - due late-2018 or early-2019.

How important is your Afro-Caribbean background to your musical identity? Has your heritage and family played a big role?

Yes, they have. I’m sure families play a huge role in any artists’ life, whether positive or negative. My family is quite eclectic and extremely loving and encouraging. I do mine our past for poetry or song material; but, I think that’s an affliction that tempts every artist...like Sartre speaking about the ‘madeleine’ cookies of his childhood at such lengths. It’s not about the cookies: it’s about the point in time during which they took place: his boyhood.

IN THIS PHOTO: Aldous Harding/PHOTO CREDIT: Cat Stevens

Who are the new artists you recommend we check out?

Aldous Harding, Courtney Marie Andrews; Xenia Rubinos, Tank and the Bangas.

IN THIS PHOTO: Courtney Marie Andrews/PHOTO CREDIT: Laura E. Partain

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

Miles Davis – Kind of Blue

It’s a classic.

Lauryn Hill – The Miseducation of Lauryn Hill

A feminist/womanist Hip-Hop anthem.

Bob Marley – Kaya

For obvious reasons - I was named after that album.

Is there any advice you would give to fellow artists coming through right now?

Forgive and celebrate yourself…

You are not perfect; not every show will go incredibly. You’re human. Have fun and move on.  Most of all – play. Joke around: don’t be so serious. Develop a mantra. Mine is: “I love myself, I accept myself; I am worthy”. Before you hit the stage, or in the lowest moments in your career (filled with the most self-doubt); repeat your mantra...

I know you are in the U.K. and Ireland to tour through January and February. Which dates are you most looking forward to? How do you find the British/Irish crowds?

I love the crowds overseas!

There’s such an appreciation for Folk music in the U.K. (Ireland and Wales). That is very rare and special. I love sharing my songs with you all. I’m looking forward to playing at Celtic Connections in Glasgow - because I’ve admired the festival for a long time. I’m also looking forward to playing Leap Castle in Roscrea because…you know…it’s a CASTLE.

We don’t have too many of those back home…

Do you have any ambitions of resolutions for this year at all?

To love myself more fully and completely.

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).

Really?! Wow…okay, okay; um….

How about Coyote by Jonathan Byrd? That’s one of my favourites

________ 

Follow Kaia Kater

Official:

http://www.kaiakater.com/

Facebook:

https://www.facebook.com/kaiakatermusic/

Twitter:

https://twitter.com/kaiakater

SoundCloud:

https://soundcloud.com/kaiakater

YouTube:

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

FEATURE: Three-Minute Hero: Concision in the Age of Streaming

FEATURE:

 

Three-Minute Hero

PHOTO CREDIT: Unsplash

Concision in the Age of Streaming  

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I remember a time when music was defined by…

IN THIS PHOTO: A promotional shot for The Beatles' album, Sgt. Pepper's Lonely Hearts Club Band/PHOTO CREDIT: Getty Images

a certain tightness and constriction. I have been revisiting The Beatles – not that I have ever stopped! – by looking, in forensic detail, at the running times of their material. In the first half of their career – up until Sgt. Pepper’s Lonely Hearts Club Band, really – the songs usually came in at around three minutes or so. A lot of the song would be shorter: the need to get to the point and convey their message quick was what was required. The boys were a new sensation and people, even then, wanted a Pop song that delivered a punch of joy in under three minutes. There was no 'golden rule' - but that seemed to be the measure. They remain the band, I feel, define economy and potency. The Beatles could get their songs out and, in that short time, change the world! Other industries, like Motown, were expert at crafting and engineering stunning songs that did not overrun. There is a slight irony, I guess, in this piece: it is going to be quite a long feature. I am compelled because, now, musical competition and pressure are at an all-time high. (The industry is packed and impossible to conquer). There remains a difference of opinions regarding the best way get into the mindset and make an impact. I feel there are two camps in music right now: there are artists who, in any genre, can create a wonderful and memorable song - and ensure it does not top the three-minute marker.

PHOTO CREDIT: Unsplash

It is hard to do but, I guess, is more common in certain genres. There are artists who feel they can only make a song gold and addictive if they allow a bit more time and space. We know, and have done for years, people are either drawn on a song or not within the first few seconds. With streaming services on the grow; one can skip to another track and hear any song they want. The attention-span is not limited, necessarily: people are spoilt for choice and, as such, musicians need to grab the imagination within the first thirty seconds. As such; one would think creating a short and lean song would be top of the priority list. If the average person demands a song win them within seconds: is it wise penning something that lasts maybe five or six minutes?! There are radio stations who allow a certain indulgence but, largely, they are limited in terms of the running-time. What I have found is the relative lack of ‘three-minute wonders’. We all know the sort: that epic song that starts with a bang; keeps you invested and then, before you know it, the thing has ended. The Beatles are the perfect example: there are plenty of other acts who were masterful regarding that type of thing. You’d imagine Punk and Pop artists would be the best examples of the taut and fabulous – those acts who can produce a banger without exceeding that three-minute barrier.

PHOTO CREDIT: Unsplash

I am finding a lot of fantastic, nuanced songs that do not overrun but, conversely, the dominance of streaming has seen more and more artists stretch their ambitions. I review a lot of songs and albums and find the same thing coming up: artists are writing longer, more adventurous, numbers. It is easier and cheaper to record music now – no need to go into expensive studios and slave – so, as such, they are creating D.I.Y./cheaply-made songs that allow them a little more leniency. The age-old debate regarding quality and evolution – whether music is better now or back then – does hinge on how an ever-growing musical population deals with the competition. Some go for a longer song: the more music you give people; the better chance you have of rooting in the brain. Others, who prefer something concise, will stick with something shorter and succinct. I feel there are fewer three-minute (or less) tracks because radio stations are willing to provide more airtime. There was the rule, years ago, a song could not exceed a certain length – if it wanted to make it onto the popular stations of the day. Unless a modern artist pens something ridiculously long – you might be okay up to about six or seven minutes – then you can get played. I feel there are too many needlessly dragging tracks out; feeling the way to rack up the streaming figures and views is producing something long.

IN THIS PHOTO: Lorde (a modern Pop artist who, among her impressive catalogue, has produced a few sub-three-minute works of brilliance)/PHOTO CREDIT: Getty Images

Pop has even gone away from the short-sharp-shock approach and become more indulgent. A fascinating article published in Wired takes a more anatomical and analytical aspect to trends:

“How about massive amounts of data? Yes? Yes. Here is a giant database of music. From that, I can get songs from different years and look at the duration. Let's just plot this stuff. Since most years had many different songs, I have calculated the average song length (in seconds) and included error bars that represent the standard deviation of the distribution.

This seems to suggest that songs got longer even without new technology. Yes, there was still new technology. There was the extended play 45 record (EP). It still seems like that still would reduce the quality of the recording.

What about now? Since 1990, it seems that the average song length has sort of stabilized around 250 seconds (over 4 minutes). Maybe that's because humans prefer 4 minute songs. Clearly there is no technological limit to song length anymore, right?

So, did new technologies influence song length? I am going to say that it's plausible but not for certain. I still like the graphs though”.

Some of my favourite songs are three minutes or under. I have been listening to a lot of early White Stripes stuff – Blues jams that, for the first few albums, contained fairly short songs. In an age where vinyl was the only recourse; artists recorded songs that were around three minutes so they could squeeze their music onto a record. Those wanting a traditional two-side record had to consider the number of tracks they recorded and how long they were.

PHOTO CREDIT: Unsplash

Radio stations were stricter, too. It is strange that, at a time when (it is said) attention spans are getting shorter; songs seem to be getting longer. The top one-hundred tracks on the iTunes chart are longer than a few years ago: chart-based music features a greater number of lengthy songs. That contrast between keeping the listener interested and making a huge impact is interesting. One can claim the average song has got longer because of the theme/genre. There are great Punk/Rock acts around now who deliver a fantastically physical track in two-three minutes. The Punk movement is not as influential as it was in the 1970s, and so, this type of artists are largely confined to peripheral vision. Pop songs have changed in terms of timbre and tonality. There are gleeful and unabashed sunshine-smashes but, as we become a more anxious people; songs are more reflective and personal – this demands a slower, sadder and lyrically-dense songwriting style. More songs are recorded in minor keys: the days of the major keys ruling the airwaves has passed. I love the fact musicians are honest in their music; genres and being spliced and radio stations are more open-minded and less rigorous. Whether it is a bygone Blur banger or a sizzling Sex Pistols song; a rowdy Ramones number or a Beatles belter – a certain degree of excitement and fun has been transplanted.

IN THIS PHOTO: The White Stripes (who, in their day, were no strangers to tight and to-the-point songs)/PHOTO CREDIT: Jamie Beeden/The Hell Gate/Corbis via Getty Images

I wrote about this a few days ago: wondering whether fun has escaped from the Pop charts. It seems, with a diminishing smile, modern music comes with a bit more brood and indulgence. This shift has seen some revelatory records and a lot of fantastic music. There are some sharp three-minute wonders...if you know where to look. A lot of modern Pop is uplifting and positive – even if the artists are adding in an extra chorus and a more verbose introduction. It seems we defy the rule regarding concentration: listeners are backing and streaming songs that exceed three minutes; the vocal does not come in until quite late in the proceedings – giving modern artists, established and new, greater confidence to push their music. I appreciate we get to hear musicians uninhibited and free: I would like to see more of the incredible songs I grew up with; those bands/artists that created gold without exceeding the three-minute point. Many argue a shorter song is less likely to connect with a modern listener who requires something more expansive. Perhaps, given the personal nature of songs; artists are unable to convey everything within strict barriers. It is an interesting debate, regardless of whether you prefer songs more concentrated or not – the days of the radio-friendly, three-minute gem is (pretty much) a thing of the past. It is an interesting point to consider and, with that in mind, I shall…

PHOTO CREDIT: Unsplash

END it there.

INTERVIEW: SUB BLUE

INTERVIEW:

 SUB BLUE

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HE is one of the most exciting young artists…

on the block right now. I have been learning more about SUB BLUE and his new single, Range Rover. He gives me a window into his creative process and the artists who have inspired him. I ask about his base in Liverpool; whether there is a thriving local scene; which new artists we should keep an ear out for – what we can expect from the upcoming E.P., Suburban View.

SUB BLUE discusses his upbringing and the music he was raised on; how his live performances differ from his work in the studio; what it was like working with XamVolo – and how modern life/suburbia influences his creativity.

_______

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

Hey. I’m good, thanks. It's been a busy week - since it was the first week back at uni.

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

I’m an Alt-R&B artist from Merseyside; making what I call ’Suburban-Blues’.

Range Rover is your new single. What can you tell me about the song’s story and inspiration?

I wrote Range Rover to explain that, although Suburbia may seem like it is the perfect setting, in reality, it’s often the opposite and that we experience problems and pain the same as the next person - but we just hide behind our material things.

It seems the nature of suburbia and keeping up appearances is integral to your work. Do you feel we are often forced to feel a certain way – assume a mantle of happiness and hide our anxieties?

My generation has a lot of pressure on them and I do think the majority feel like they have to abide by certain stereotypes or do certain things in order to fit in – which, I believe, is leading to a bit of a lost generation. I think we value a lot of material things and ‘fake’ interaction more than real relationships and experiences.

I’m not immune from this either - which is probably why I can touch on it in my music.

The song is taken from your E.P., Suburban View. Can you talk more about the songs/ideas you explore on the E.P.?

The set of songs that make up the E.P. are the first concise look at this world I live in and I’ve come from; with themes centered around reality vs. perception and expectation. It’s not just a look at suburbia: it’s also a look at teen life and coming-of-age as well as pop culture. So, suburbia, almost, is like a fictional place - which isn’t just for those born into a certain income bracket - but more those born in a generational age bracket in the Western world.

The best way I’d describe the songs is ‘voyeuristic’ - because a lot of the things that happen are things I’ve observed closely. In terms of specific topics; I touch on everything from social media to depression; to love to drugs to heartache.

I’m planning to go much deeper on future projects.

I notice XamVolo is one of the artists/producers who helped on the E.P. How did you come to meet him?

I think the first time I met Xam was back at LIMF in 2014; but we have the same manager and we both got on because we have the same huge passion for music – and, ever since meeting him; he’s been like a big brother to me.

There are a few producers on the E.P. How did you come to select the producers - and what did each of them bring to the recording?

Just connecting with people on the subject and vibe really. The process took a minute but I’ve been lucky to work with the likes of Sir Dylan and A.V whilst in L.A., and then, an amazing group of emerging producers, domestically, including XamVolo, TeeSoulful; Cameron Warren, Joe Warriner and Mikey Gormley.

I think developing such a good relationship with all the guys made the process so much more fun - and each gave me a little something extra to bring out the full theme.

Tell me about Liverpool and how influential the city is. Is it somewhere that gives you energy and motivation?

I feel like there has always been vibrant creativity in the city - and we are known for that – but, recently, I feel like the urban culture is growing and being enhanced…with lots of likeminded creatives connecting and supporting each other.

It’s hard not to be inspired...

Are there quite a few great local artists who look likely to break out in the next few years?

Yeah. I definitely think XamVolo is one to watch! You have the likes of Taya, Astles and Aystar - who are already doing their thing - but are sure to make a dent nationally and internationally.

IN THIS PHOTO: Mahalia

Who are the new artists you recommend we check out?

Hare Squead, Tom Tripp; Mahalia, Madison Beer and XamVolo.

IN THIS PHOTO: XamVolo/PHOTO CREDIT: Robin Clewley

Which artists did you latch onto as a youngster? Was music a part of your childhood?

I grew listening to a lot of old-school R&B and Hip-Hop around the house: both my parents were hugely into music artists like Luther Vandross, 2Pac; Biggie, SWV and loads of others. I’d say music was a massive part of my childhood - and it put me on my path to becoming an artist.

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

The three albums I’d choose would be Frank Ocean’s Channel Orange; The Weeknd’s House of Balloons and Kanye West’s 808’s & Heartbreaks.

I feel like those were the albums that massively impacted who I am as an artist - in terms of topics all three artists write about (and also, sonically).

Can we see you tour soon? What gigs do you have coming up?

I’m planning to - just want to make this music connects first and then take it on the road. But, definitely, there will be some shows across the U.K. coming up.

What differences are there between your recorded material and live shows? Do you bring different elements to a live performance?

I think there’s there definitely more live instrumentation added into the live set: more of a dynamic in terms of the emotion portrayed in the songs when I play them live.

Any New Year’s resolutions made this year? What do you hope to achieve, personally, in 2018?

My New Year’s resolutions are (just) to keep writing and making music and, hopefully, to be working towards my second E.P. - or an album - by year-end.

Also…to buy fewer clothes (ha!)

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Chanel – Frank Ocean

________

Follow Sub Blue

Official:

http://www.iamsubblue.com/

Facebook:

https://www.facebook.com/iamsubblue/

Twitter:

https://twitter.com/iamsubblue

Instagram:

https://www.instagram.com/iamsubblue/

SoundCloud:

https://soundcloud.com/iamsubblue

INTERVIEW: Safari Gold

INTERVIEW:

 Safari Gold

_______

MY tour of the musical world takes me to Cardiff…

and to the feet of the wonderful Safari Gold. I have been speaking with the guys about their latest single, Easy Company; how the band got together; what the music scene is like in Cardiff – and what events/stories inspired their eponymous album (out now).

I ask them about their favourite music and whether there are gigs coming up; whether the media attention they have been afforded gives them confidence; how their album came together (given the fact various members were in different parts of the world before it creation); new talent they recommend we investigate – whether they have any New Year’s resolutions plotted and ready to go…

_______

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

Hi! Great, thanks. It’s been an incredible week if I’m honest. We released our debut album and played a sold-out show in our hometown of Cardiff.

Dream weekend.

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

Well; we’re called Safari Gold and we are four close friends that have been making music together since the age of thirteen. We take influences from all over the place - but we’re, essentially, an Alternative-Pop band.

Pop music for the thinking people…

What is the origin of the name, ‘Safari Gold’? Is there significance behind that moniker?

Unfortunately, not much significance: we like safaris and we like gold. In hindsight; it does sound like something you’d read on a shampoo bottle.

 

I will ask about your album but, right now; tell me about the track, Easy Company. What is the story behind the song?

It’s about pushing through the fear of change - to live up to your potential. 

Your eponymous album is out. Can you distil the stories and ideas that go into the record?

Lyrically, the album is Danny’s baby and it spans a real range of life experiences. Danny’s a great lyricist, though. You need to listen a few times to the tracks to get an idea of what he’s saying.

It gives the album a lasting value.

It seems like you were all in different places and parts of the world before the album came together. Was it a hard record to get together?!

It took us a while, yeah!

The album is probably four years in-the-making. My brother, Lewys (album producer and drummer), was based in India for the better part of a year for work - and I probably spent eight-ten months abroad working during album process. It broke up momentum - but also gave us time to sit on ideas and recordings.

The final product definitely sounds like an album that wasn’t rushed.

Is there a song from the album you each feel defines the band? Which is the one that stands in the mind?

Our lead single, Howl, was released two years ago and it really put us on the map - and got us some attention - so it’s the song that filled us with belief and confidence to go on and make this album. 

How did you all get together and form a band? Did you all know one another as children?

Yeah; so, myself and my little brother, Lewys, grew up on a mountain outside the Welsh valleys and our next door neighbour was Sion - so we all started playing instruments through our love of Blink-182 (as young teens).

Danny was in school with us and it all came together pretty quickly.

Not many people talk about Cardiff as a hub for new music! What is it like in terms of sounds and artists coming through?

Cardiff is great for new music. We actually feel a little out of touch with the new wave of bands coming through right now - but that’s because it’s an ever-evolving scene in Cardiff and we’re not teenagers anymore.

Bands like Boy Azooga, right now, are making a real name for themselves. It’s good to see.

It seems a lot of media sources have picked up on your music! How important is it to have their backing and support behind you? 

Going back to when we released Howl; Indie Shuffle blogged about it - and then another twenty to thirty blogs posted about it after. It was our first experience of anything like this and, since, people have paid attention. It does reassure bands that they’re onto something good but, either way, we would still make the music regardless of online support…

Who are the new artists you recommend we check out?

They aren’t that new...but The People The Poet are very good friends of ours and they’re incredibly talented - and their new album comes out this year (and it’s an absolute stormer). 

Which artists did you all grow up to? Were you raised in musical households?

Yeah. My brother and I grew up in a musical household. Our mum was a member of the first proper Welsh-language girl-group. She got us into music, really. Then; we grew up listening to a lot of Blink-182 and The Offspring.

A lot of American Punk-Rock!

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

As a band; perhaps Phoenix’s album, Wolfgang Amadeus Phoenix, was a huge influence on us. There are just too many though...

The last few years, I’ve listened to so much of The War on Drugs. I’d say they’ve had a big effect on me personally.

Can we see you tour soon? What gigs do you have coming up?

Hopefully! We’re still doing everything on our own schedule but we’d love to get out and tour the album. Since the album launch, we have no gigs arranged. We’ll get it all going soon though.

No rush.

Any New Year’s resolutions made this year? What do you all hope to achieve, personally, in 2018?

I personally want as many people as possible to enjoy our album. That’s number-one priority for us this year.

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Morgan: The War on Drugs – Pain

Danny: Kendrick Lamar – HUMBLE

Sion: Blink-182 - Going Away to College

Lewys: Phoenix – Girlfriend

________

Follow Safari Gold

Twitter:

https://twitter.com/safarigoldmusic

Facebook:

https://www.facebook.com/safarigoldmusic

SoundCloud:

https://soundcloud.com/safarigoldmusic

Spotify:

https://open.spotify.com/artist/6JGHnhNiw2mb4JbowCKKEB

YouTube:

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

FEATURE: Order, Order! Why Modern Music Would Benefit from Its Own Democratic Government

FEATURE:

 

Order, Order!

ALL PHOTOS (unless credited otherwise): Unsplash

Why Modern Music Would Benefit from Its Own Democratic Government

__________

THIS is an idea I tossed around last year...

I am looking out at our own government and, for want of a better expression, feel they are making too many mistakes – there are harsher words I could attribute to their brand of leadership! It has been a shambolic and chaotic past couple of years and, as we plunge into this year with a mixture of fear and anger; I have been thinking how music can exert more influence. It is not, as I have stated, potent enough to change society as quickly as we need. Another concept I have been playing with is a music charity/body that, not only brings old and new music in an organised and effective way – it helps raise money for charities, causes and musicians. This idea, then, feeds into that: a cabinet/structure in modern music where specific people are designated to parent various aspects of the industry. At the moment; a lot of power is exerted by few: record labels, streaming services and big-business seem to have more control and influence than anyone else. They need to have that dominance, I guess. Artists need representation so, if we were to undo the current order; that might lead to devastating disorder. I am not suggesting we rid music of all the oligarchs, huge labels and streaming services: simply, introduce new bodies, people and departments to music. Look at any government and there are various ministers for each department...

IN THIS PHOTO: The White House

We have someone in charge of health (apparently!) and education; a Foreign Secretary and local politicians. Music is a huge and unwieldy industry that is in need of organisation and a certain compartmentalisation. I am suggesting we assign our own ‘ministers’ to protect various parts of music. For one, I would like to see a Minister for Venues. It does not have to be a single human taking on all the responsibility: several people, in each part of the U.K., could take on the role. It would mean they’d be charged with studying venues and their profitability. They could launch funding initiatives and discuss ways to preserve them. We have ministers in Parliament who are assigned to the arts – it is hard to know what impact they are making on their music industry. I worry, in such a huge industry, there is a lack of organisation and discipline. I feel venues, and their frailty in certain regions, is something we need to tackle. The minister(s) could take on other roles but it would be a full-time role where they would travel around their area and, not only ensure the venues are protected and growing – they would think of initiatives and ideas to increase its status and survival chances. London, especially hot with venues, might have several appointed arbiter: smaller regions would only need the one (person). That is not the only area of music that could benefit from governance.

Mental-health and wellbeing are concerns that never leave my mind. I worry artists and music personnel are suffering and having too much pressure put on them. The debt placed on our health service, because of stress and psychological issues, is profound. It is that ‘silent demon’ that stalks and bites – something difficult to control and temporise. I feel, because there is a lot of mental-health concerns in music; we should have a department that looks after that side of things. It would be a combination of medical professionals – G.P.s and psychiatrists – alongside councillors and advisors. Not only would they pitch for funding – to ensure we can provide better care for artists – but raise awareness and provide direct support. Whilst treatment and one-on-one discussion are needed: working with other departments to reduce the epidemic of mental-health, and its nefarious tongue, is paramount! I feel this government could operate through bicameralism: having one ‘government’ in the U.K. and another in the U.S., maybe? There would be local representatives, which I will come to, but it would not be localised and entirely run in Britain. Like our own government; I feel having people in charge of education and international affairs is important. In terms of ‘education’; it would be a combination of pushing music back onto the syllabus; ensuring there is a more visible musical programme on our curriculum. We could visit schools and ensure students are being taught music as part of their daily education – not just having access to these courses through higher education.

Putting music back into schools is vital. Funding could be raised and discussions held with our own Government. We could affect change so that music education is not reserved to those who can afford it – and limited to colleges and universities. There are music syllabuses in schools but it is not as prolific and widespread as it once was. Education involves, as I will show, integrating with other departments – raising awareness of big issues affecting the industry. From a simple audio standpoint; ensuring older music is preserved and brought to new negotiations is important. Someone could look after streaming services and look at how older and new artists are represented there. Maybe, they could look at various trends in music and predict where the industry is heading. There is a lot we can teach musicians and listeners alike; maybe having archivist that would look at bygone music and ensure its potency and legacy remains. Alongside various educational considerations is a moral and conscientious bent. There is a lot of sexism and racism in the industry - and a need to stem it. Not only do many in music need education and informing – what they are doing wrong and how we can improve – but the industry as a whole needs to change the way it views female artists and minorities. Raising schemes and discussing reorganisation would be good. That might be ways of having more female artists in headliner spots; ensuring there is less sexualisation and discrimination; ensuring, too, there is parity in the business!

The same goes for minority musicians: making sure they are not overlooked and given the same opportunities at award ceremonies, in the industry and at festivals. Having a Minister for Festivals, like (a) venues representative, could foster and support new festivals: ensure existing ones run smoothly and are provided as much funding and promotion is provided. This would be a smaller role but one that could link with education, too, and raise issues surrounding festivals – drugs deaths and weather-related issues. It is a wide spectrum (education) but a role that definitely needs to be created. I have mentioned, already, local representative and how they could change music – and link with the Education representatives. Each town/city has a music industry. From gigs and promotion through to educating and encouraging new musicians in that area – so much good work that could be done. It might sound like a lot of work but there is a need for structure and progression. In terms of foreign links; I mentioned how the U.S. could adopt a similar approach. A musical Foreign Secretary(ies) could build bridges with other nations: promoting British music and, in terms of other artists and potential touring acts; liaise with them and – with the support of venues – arrange performances. British music is well-known around the world but a lot of our unsigned/new artists are restricted to the U.K. An envoy/cultural attaché would provide the link between nations: bring stunning international sounds to our shores.

The idea for any (proposed) government body would be those international links. I would like to see British representation in London, Manchester; Bristol, Brighton and Glasgow. There would be bases in each city and concentration here – spreading out the departments and ministers/secretaries so everything is not focused in London. The same goes for America: New York and L.A. (maybe two bases in each); Nashville and Austin would be great locations – maybe branching into Seattle and Detroit, too. I want Australia involved too; have bases in Sydney, Melbourne and Brisbane; Perth, too. Not only would we concentrate on live and recorded music: T.V. and radio would have representation, too. They are crucial outlets for music (radio especially) so promoting stations and creating easy links between radio/T.V. producers is key. Working with the biggest radio stations; events could be created to promote their great work; linking them with other stations around the world – ensuring we augment our finest T.V. and radio brands. For artists; there is always that desire to get their music heard and played. It can be hard finding an audience and willing ear! Having designated people working with musicians to forge ties – and get their material heard – is another important point. In addition to all these departments/points must come business and social aspects.

By ‘business’; I mean focusing on music business and finance: from record labels/deals through to the way artists are paid; trade and ties with international sources and contracts. Ensuring there is finance available, as I will finish up with, is crucial. That can be anything from artists being paid on streaming services; ensuring there is capital going into venues and festivals – looking at the wages of radio and T.V. talent (ensuring there is an attempt at parity). One of the other big departments – there will be lots of smaller chambers – is the social side of things. Again; this is quite broad. Someone will be employed to create greater social links and collaboration between artists. Not only would we look to create more social gatherings, events and opportunities: looking at social media, and the way it is run, is pressing. Maybe creating a bespoke site that integrates social media and something musically bespoke. It means a musician/fan is not online longer than they need to be. A site would produce information, useful tools and software; options that allow fans to connect with a great range of music – artists the chance to bond with others and find chances in the industry. That is, pretty much, the outline of the proposal – other departments, facets and details would come in if the idea became reality.

I feel there is a real need for something huge and committed that deals with every part of music. The considerations would be, I guess: how is integrates and communications with the Government; how it will be funded and sustained; whether its ‘core’ – where it is all run from – would be a physical base or online presence. It would be a separate entity from our Government. The music cabinet – not sure what it is called yet! – would try and work with the Culture Secretary and Prime Minister at various points. It is prudent, when implementing changes to the music industry, there is conferencing with Downing Street. So we do not contradict the Government – or clash with them; weaken the work being carried out – there would be conversation and cooperation. This project/government would not be part of our elected. There would be mutual understanding - but the reason for launching this is to do work our Government are not! Making it all a fiscal reality is the biggest challenge. One hopes the government would designate a certain budget for this movement – as we are not undermining them; merely adding support and taking on great responsibility – and the desire to get more involved with music (in all genres and settings) should be reason enough to reap the reward. Like streaming sites and commercial stations; a lot of the funding would come from sponsors and big businesses.

That is not to say (this government) would be corporate shills and money-grabbing types: we would work with them and ensure our ethics and motives are pure. I am looking at corporations like Samsung, Google and Microsoft – maybe Amazon and Facebook. In exchange for a yearly stipend – and subsiding – there would be chances for brand promotion, advertising and commercial expansion. The details are slight at the moment but it would not see banners and slogans painted on cars (metaphorically-speaking): there would be a contract drawn that meant musicians, fans and the businesses themselves would all benefit…without anyone having to sell their soul. That may seem impossible but getting that capital from the big businesses ensures the music government can survive, expand and make effective changes. In regards the physical manifestation of the initiative – many wonder what shape it will take. We cannot, unfortunately, build anything as grand and commodious as the Houses of Parliament. It would be a split between online visibility and physical presence. The latter is most important: making sure there are actual bases for the proposal/government. (They would be situated in the cities I mentioned earlier). It would start as offices but, as the idea grew; more would spring up and we could be more ambitious with size/locations...

I am keen, even though it is a music-based enterprise, to link closely with film and T.V. Not only is it important to get high-profile actors and figures involved; there is a visual aspect to music that has existed for decades. Putting more money into music videos means we can create stunningly imaginative works – ensure new artists have more money to create something terrific. Linking with actors means there is a communication channel between artists/directors and talent. It would open up new chances and horizons. I am interested seeing whether there is the possibility of a music show/channel; something that can find backing/funding from a big service like Netflix or Amazon. It is not only personalities from music and film I am keen to act as ambassadors of this government. Incredible supporters of music like Barack Obama – not the first name you might have considered! – could lend their voice and, with services like Spotify, take music to new lands – and help make real changes in the industry. It is all ideas and propositions at the moment but I feel, in time, the only way we can affect genuine shifts in music – including getting more working-class musicians into the mainstream; more working-class journalists at big papers – is to work together and form something productive.

IN THIS PHOTO: Former U.S. President, Barack Obama

I know something good could happen and, if it started out as a social media-based poll – how many would object to such a government? It would work a lot more effectively and democratically than our own and, as finances come in and changes are made; it could push into other areas of society and make a difference. That is not to say the world will be changed: one cannot discount the possibility something big could come about! It is about starting strong and ensuring the flame is not extinguished. It might take years before something real and visible comes into the world: money will need to be found and serious organisation undertaken. The music industry is a wonderful thing and is inspiring countless artists to add their voice to it. The swell and diversity of the industry, coupled with problems and conflicts, means something needs to be done. There are great charities, bodies and people who help guide and shape music but, the larger the industry becomes; the more hands required. A bespoke musical government would alleviate some of the pressure and recruit musicians, professional and musical fans into the government – a democratic and eclectic body. If music, and all its layers and levels can have that consistent and multi-department care; I feel a stronger and more equal industry can come about. We could poll the masses (to get feedback) and I am confident, when the ballots close, the result will be something…

IN THIS PHOTO: A shot of L.A., U.S.A.

EVERYONE can agree on.

INTERVIEW: Timsters

INTERVIEW:

Timsters

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THE past couple of days have been an international affair…

that is no danger of slowing down! I have stepped from the U.K. into Europe; over to Canada – it is now back to Europe! French artist Timsters tells me about his new single, Gone, and how it came together; how all those sounds and flavours unify and flow; the artists/sounds that compel him – and what it is like running the label, Elephant & Castle.

I learn more about Timsters’ creative process and what the next step is; whether he grew up in a musical household; if there is more material coming this year; the three albums that mean the most to him – and whether he has any personal goals in mind.

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

Hello! I’m great. My week was so cool - as my new track, Gone, was released on Tuesday (last). It’s always very exciting.

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

My name is Timsters. I’m from France and I produce Electronic-Pop music steeped in urban art.

I spent my childhood in a little city lost in the countryside - so, I’ve always fantasised about the big urban area. I also created the French label, Elephant and Castle, in 2017.

Gone is the new single. What can you reveal about its story and background?

Two years ago; I didn’t know where I wanted to go: my life was a complete mess. I did some kind of experimental work; many little productions. One of them was the beginning of Gone’s creation. (It’s Called DHWYDU (Don’t Hate What You Don’t Understand); a John Lennon quote…you can listen to it here: https://www.youtube.com/watch?v=QEZ4Xl3PGm0).

I had spent a lot of time working on my melodies and musical arrangements; but, then, I wanted to deal with sounds, ambiences and experimental textures in depth. 

After that; I built some melodies and co-wrote the lyrics with the French artist, Praa.

It mixes styles and moods to create something extraordinary. Was it a hard song to put together – or was it quite natural?

The first part of the work was a kind of research: finding textures by mixing synthesisers with many samples I recorded. Indeed, I travelled a lot across the world and I took the habit of recording lots of ambiences in big cities.

So, producing this track was quite natural - as all the sounds were already there.

The song has elements of acts like Empire of the Sun and Pnau. Are they artists you are inspired by?

I only know the big single of Empire of the Sun, Walking on a Dream.  I don’t know Pnau - but I sure will go listen to them.

The video looks like it was interesting and fun! How involved do you get regarding the concept? What was the reason behind Gone’s treatment/look?

The music video was directed by the brilliant Gaultier Durhin. We wanted to show an artist creating in his workshop confronted by his own creation – from which he’s trying to escape. It shows his process of creation, as hard as it can be, and finally making the choice whether to keep his work or destroy it...

Will there be more material coming later this year?

I’m gonna release a new music video in March - also directed by Gaultier Durhin. I’m working on my first L.P.

Tell me about the label, Elephant & Castle. Are they important to your sound and ethos? How supportive have they been?

I’m the founder of Elephant & Castle. I produce all the artists on the label for now. It’s a great adventure. It feeds me and inspires me so, yes; it definitely affects my work.

We are a family - and I’m so proud of that.

Did you grow up in a musical household? What music were you raised on?

My father is a musician: he taught me how to play the guitar. But, when I was a teenager, most of my musical inspirations came from MTV. Ha ha.

I listened to a lot of Pop Music.

IN THIS PHOTO: Praa/PHOTO CREDIT: Ousseynou Cissé

Who are the new artists you recommend we check out?

Praa & Armando Young.

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

Kid A – Radiohead

It’s the record that led me to experimental music.

L’Homme à Tête de Chou – Serge Gainsbourg

For his sense of narration and his avant-gardism.

Peter and the Wolf – Sergei Prokofiev

My first musical emotion.

Can we see you tour soon? What gigs do you have coming up?

Before touring, I want to finish my album. Producing the artists on the label takes me a lot of time, too. But; I can’t wait to share my songs with a live audience.

Any New Year’s resolutions made this year? What do you hope to achieve, personally, in 2018?

Travel, multiple artistic collaborations - and spend more time with my friends and family.

Do you feel you have come a long way as a writer and performer since your earliest days? What are the biggest changes you have noticed?

I’ve been practising music since I was ten...

The hardest thing is to keep faith in what you are doing, in what you are. Collaborating and working with other artists is what gave me confidence in my work. Thanks to music; I lived great human experiences that taught me a lot (and made me grew up).

What advice would you give to new acts coming through?

Collaborate, share; keep your singularity…just be yourself.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Praa – Modeling Clay

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 Follow Timsters

Twitter:

https://twitter.com/timstersmusic

Facebook:

https://www.facebook.com/timsters

SoundCloud:

https://soundcloud.com/timsters

Spotify:

https://open.spotify.com/artist/4Th2mI4JpvG2Do9fWCBZO4

YouTube:

https://www.youtube.com/channel/UClsBhAD-A38txwah9CPKndA

INTERVIEW: Falling Ghost

INTERVIEW:

Falling Ghost

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THIS is the last of my interviews that…

is held over from last year. Although Be Careful What You Wish For has been out for a few months now; I was eager to speak with Falling Ghost about the song and its origins. He talks about Manchester and how the city inspires his work; the sounds and artists that influence him; whether there is any more material coming – this is his debut single.

I ask about that unique moniker and how he has transitioned from his band, SYLVIA; what it was like working with John Davies on Be Careful What You Wish For; why Falling Ghost produced the song himself; advice he would offer up young artists – and what gigs he has in the diary.

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Hi, Falling Ghost. How are you? How has your week been?

I’m great, thanks and, yeah; it’s been really good so far, thank you.

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

Sure. I’m a multi-instrumentalist, songwriter and producer from Manchester. I’ve just finished recording my first solo album.

Can I ask about the moniker?! Where does ‘Falling Ghost’ come from?

It’s actually the name of a song I wrote for my old band, SYLVIA. When I was thinking of a name for my new solo project…I just liked the sound of it.

Be Careful What You Wish For is your debut single. What is the inspiration behind it?

Musically, I was influenced by a lot of classic early-1990s Dance tracks with big synth sounds and heavily-processed drums - something like Killer by Seal and Adamski is a good example. I just love the atmosphere of it. Prince was also an inspiration; especially some of the tracks from his Sign o’ the Times album. I was also influenced by certain tracks from the XX’s first album.

Lyrically, I was going for something quite abstract and epigrammatic. I borrowed a few phrases from Saul Bellow’s Herzog. But, the general idea is one of realising the importance of what you have as opposed to what you want.

What has it been like working on the track with the guys at Regent Street Records?

Working on the track was actually really hard.

It took me ages to get a sound I was happy with. It started out as a guitar track - but, then, evolved out of all recognition as I continued to work on it. I must’ve started the song from scratch about one-hundred times; trying out different instrumentation and production styles before settling on something I was happy with.

Working with Regent Street Records has been good. They just let me get on with it really – and, as an artist, that suits me well.

You produced the song yourself. As a producer and multi-instrumentalist; do you think having that control means the music is more meaningful and pure to you?

Yeah, it does because, ultimately, you're responsible for absolutely everything on the track. So; it feels like more of an achievement - and is more satisfying when you finish something you’re completely happy with and then even more so when other people like it as well.

John Davies mixes the song. What was it like collaborating with him in that sense?

It was great, actually. John’s one of the best mastering engineers in the world - so it was amazing to watch him work and to work with him on my album. He’s also a really lovely guy and we got on well.

Was it difficult going solo after a successful career with the band, SYLVIA?

Yeah. I found some things difficult...

Sometimes, it’s just useful to have other musicians around to bounce ideas off; it can give you another perspective on things. But, then, it’s also a lot easier to get things finished when it’s just you as there aren’t lots of conflicting opinions - and you don't have to arrange your life around other people. Being in SYLVIA was great, but I just think I was ready for a new challenge and it was time to move on.

Manchester is your home and plays a part in everything you do. How important is the city and its people to you?

I’d say it’s hugely important: Manchester’s an amazing city and has a great spirit; I love it.

When you think of all the great bands that have come out of Manchester, it inspires what you do. Music is such a massive part of what Manchester’s about: the city’s past and present - that as a musician - it’s a great environment to be in. I think, where you grow up, always shapes who you are and then that feeds directly into your art…so, in a way, they’re inseparable.

Can you tell me the musicians you grew up and inspired your own sounds?

Ah…there are too many really.

I was a big Beatles fan when I was growing up and I loved a lot a sixties bands like The Doors, Bob Dylan; Frank Zappa and Motown. Then, I got into a lot of the Manchester bands and 1990s guitar-bands as well as EDM, Classical music and all sorts of other genres. I was always a big Prince fan, as well. At the moment, my biggest influences are Radiohead, Massive Attack; M83, Burial; Flying Lotus, Björk; Joy Division, Grizzly Bear and the XX.

But, I’m also inspired by lots of other things like literature and painting, too.

IN THIS PHOTO: Cosmo Pyke/PHOTO CREDIT: Getty Images

Who are the new artists you recommend we check out?

At the moment, I find a lot of mainstream British music a bit underwhelming - probably because major labels aren't taking risks anymore...because they literally can’t afford to - so it becomes a bit of a race to the bottom.

That said, there is still plenty of interesting music being made: you just have to look a little harder than you did before. I love Cosmo Pyke, King Krule; Stealing Sheep; Sampha, Novo Amor and Jorja Smith.

 IN THIS PHOTO: Jorja Smith/PHOTO CREDIT: Getty Images

Is there any advice you would give to artists coming through right now?

I think you need to be able to do everything for yourself; from producing your own music, sorting out your artwork and videos; booking your own gigs and doing all the social media stuff. If you can do all that then you’re not beholden to anyone...

I also think it helps to have a good work ethic.

Can we see you perform anywhere soon? 

Yeah. I’m next playing in Manchester at The Eagle Inn on 14th February with a band called Hayes & Y.

What do you have planned for this year? Will there be more material?

Yeah. This coming year is going to be pretty busy for me. I’ll be releasing another few singles and videos and then, eventually, the full album. I’ll also be going out on tour around March. I’ve also started my next album - so I’m writing and recording every minute I have to spare.

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

I really like Brazil by Declan McKenna. It’s a really catchy song - and has been stuck in my head for the last week.

________

Follow Falling Ghost

Twitter:

https://twitter.com/fallingghost1

Facebook:

https://www.facebook.com/fallingghost/

Instagram:

https://www.instagram.com/fallingghost1/

SoundCloud:

https://soundcloud.com/fallingghost

Spotify:

https://open.spotify.com/artist/0n7nU5lyADWWbTpE3AEB2O

YouTube:

https://www.youtube.com/channel/UCSXAJ6GKWpcfZoup518Mlpg

FEATURE: Spotlight: Jade Bird

FEATURE:

 

Spotlight

Jade Bird

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I will put some boys/bands into this feature…

soon enough but, right now, a sensational female artist comes to my heart - one who has enjoyed a flow of upward trending. I have been reading interviews Jade Bird has conducted recently – including one with the BBC – and she has a real charm and accessibility that leaves ego at the door and opens its arms. The twenty-year-old, it seems, is rapturous, (very) funny company – friends tell her, if music does not work out, she can become a comic! It might seem, when reading these features, Bird does not take things seriously; she prefers fun as opposed to personal revelation and insight...you would be wrong. There is a warmth and a captivating aura that emanates from her but, balancing the humour, is an honest artist keen to explain her process. Her voice has been compared to Patti Smith and, usually, such name-dropping is exaggerated and lazy. In the case of Jade Bird; that honorific is justified and well-founded. It is hard to categorise and label her music: critics have tried and, rather restrictively, labelled her as a 'Country' artist. One hears Punk and Alternative sounds in her music; one gets impressions of early-2000s Pop – that is especially true on new single, Lottery. The young talent was going through writer’s block prior to laying the song down; trying alcohol and various other ‘cures’ to get her spark back. The chorus came to her and, with lottery-based metaphors in her head; the rest poured out of her. The young songwriter knew she had a hit and, whatever the reason for the revelation was, the brief writer’s block passed – she also read a series of band lyrics in order to get her songwriter-mind back in gear.

Bird was raised in a family that moved countries and had a military background – she was especially inspired by the strong women in her family (her mum and grandmother, especially). Bird’s rise to prominence started, like many, with pub gigs and open mic. nights. These were harsh and not instantly profitable. It was a valuable experience but, in an area of Wales that did not have a huge music scene; chances to perform bigger-scale gigs were hard to come by – to audiences who were not always receptive. The break came when she was offered a place at the Brit School. Bird settled into the place but would balance school work with gigs. It was a tough thing to cope with and there was a time when she made a confession to her mum: how was she going to manage and progress in music. After recorded songs in a friend’s bathroom – the acoustics, as she claims, were incredible – she cut a demo for her management and, without pause, she was shipped to Woodstock to record an E.P. (Something American) with Bat for Lashes’ producer, Simon Felice. Glassnote signed the singer and, with her career on the ascendancy; she was in a fertile and inspired mood. Bird, herself, claims to have notebooks filled with songs and ideas - hundreds, in fact! She is part of a Glassnotes stable that includes Chvrches, Phoenix and Childish Gambino: hardly minor names you are unlikely to have heard of - just the label to encourage Bird to foster those sketches and imaginative writings.

Her debut E.P. was well-received and, with songs like Cathedral in her arsenal; she was starting to prick the ears of some important sources. The track, seemingly, fell out of nowhere: the idea of jilting someone at the altar, wearing a big white dress, seemed like a great idea. The track, in a way, shares D.N.A. with Bat for Lashes’ concept album, The Bride. Bird adds her own dynamic and voice to a vivid and beautifully realised song that proves any past droughts are gone and buried. A spot on BBC’s Sound of 2018 is only the start of things: Bird has appeared on Stephen Colbert’s U.S. chat-show; she has big gigs coming up and, on Lottery; there is a new sense of style and purpose coming through. As Jade Bird noted when speaking with BBC: Lottery is the only song, more-or-less, on Spotify’s New Music Friday that featured real drums. Most of their recommendations are Electro/Pop artists: their songs tend to provide processed beats. That difference and originality is something Bird should be proud of. There are a lot of promising young female songwriters emerging; each with their own style and angle. I feel she has something the competition does not provide: a personality that seduced journalists and emanates from every note. You can hear Bird and that big smile; a curious mind and debating heart that wants her music to connect with every listener. All of these components – and the immense talent she possesses – means the on-the-rise songwriter is going to be…

ONE of 2018’s biggest propositions.

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Follow Jade Bird

Facebook:

https://www.facebook.com/JadeBirdMusic/

Spotify:

https://open.spotify.com/artist/7D8LuVnlyu91ndcPe70j7S

Twitter:

https://twitter.com/JadeBirdMusic

Instagram:

https://www.instagram.com/jadebirdmusic

YouTube:

https://www.youtube.com/channel/UC2kDNZOmeD5rsXb4MctB4Dw

SoundCloud:

https://soundcloud.com/jadebird67

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PHOTO CREDITS: Getty Images/Jade Bird/BBC

INTERVIEW: iamhill

INTERVIEW:

 iamhill

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FROM Belgium; it is off to Canada…

so I can catch up with imahill - it has been a little while since I featured her last. She talks to me about her new single, GIAR (Give It a Rest), and the story behind it; what we can expect from the GIAR E.P.; why a particularly destructive lifestyle pattern forced the artists to take a step back; what the music scene is like in Canada right now – and whether iamhill will come to the U.K. soon.

I ask iamhill about her musical upbringing and inspirations; why she recorded her latest E.P. in a series of late-night sessions; the new artists we should be connected with; whether there are any goals for this year – if daily life and movements impact and inspire her musical creativity.

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

Hey. I’m good! I had a great week making music with some incredible artists.

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

I am Hill. I’m a Canadian independent artist - and I make Experimental-Soul music.

Tell me about GIAR (Give It a Rest) and its writing. What inspired the song?

GIAR was written in a bit of a daze? I was just singing gibberish and it became a song on its own. I realized what I wanted to say very late into writing it. It’s a bit tongue-in-cheek, I guess. Lyrics are from the perspective of someone being suppressed by patriarchy.

Take that how you will…

It appears you were going through burnout during that time! Was it helpful writing and finding some perspective?

Yeah; sometimes space and creative time are really powerful for evolution and, when you’re making things for yourself, it is incredibly rewarding...it gives back.

Do you think, in a way, you were losing a sense of perspective and control?! Going to nightclubs and partying until 4 A.M. – was there a moment you felt like you needed to take a step back?

Yes. It can escalate quickly when your lifestyle is that unhealthy. I’m grateful that I had good people around me in the times when I was being an asshole.

They reminded me what matters.

GIAR is from the E.P. of the same name. What can you reveal about the other songs/themes that will be addressed?

A few have already been released! Weak and On Camera are both already available online: the rest, you’ll have to wait for. There’s a lot of music I need to release over these next few years...

It’s built up...

I believe the material (for the E.P.) was recorded during the early hours. Was this the most productive time to record? What sort of technology and instruments did you use when recording?

Not really the best time to record when you live in an apartment building - but I don’t think anyone was living above me at the time; so I lucked out and didn’t get any noise complaints. I work in Protools and recorded using native instruments, and my Oberheim synth, for GIAR. Other music, I’ve made with my pals Giordan Postorino, Morgan Gold and Fred Brenton - and a lot of my stuff I made with Mike Schlosser in Toronto.

How much inspiration do you take from day-to-day life? Do beats and rhythms come to you when you least expect?

Beats and rhythms happen in the studio: lyrics and melodies often happen when I’m driving, which is annoying. Ha! But; I’ve learned to write on the spot by now, so I can produce whenever I need to.

I don’t need to wait for inspiration (unless I’m exhausted…).

You are based in Canada. What is the scene like where you are? Do you think Canada is producing some of the best artists around?!

Canada is the fuck*ng best. I love my hometown of Edmonton - it is stacked with talent.

Which artists did you grow up to? Did you bond with music fairly young?

Yes, very young - but I grew up on (only) radio and Disney music until I moved away for college.

Then, the world opened up to me…

IN THIS PHOTO: 6LACK/PHOTO CREDIT: Getty Images

Who are the new artists you recommend we check out?

What I’m listening to right now is 6LACK; Billie Eilish and Blastfamous USA.

IN THIS PHOTO: Billie Eilish/PHOTO CREDIT: Getty Images

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

James Blake – James Blake

Frank Ocean - Channel Orange

BANKS - Goddess

Because I love them in their entirety - and they changed the way I digest music.

Can we see you tour soon? What gigs do you have coming up?

You can catch me at SXSW this March.

Will you come to the U.K. soon? Have you performed here before?

I haven’t, but as soon as I’m able...I’ll be there.

Any New Year’s resolutions made this year? What do you hope to achieve, personally, in 2018?

In 2018; I’m going to learn to code; play more guitar and travel to Asia for the first time.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

N.E.R.D. (ft. Rihanna) – Lemon

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Follow iamhill

 Official:

http://www.iamhill.com/

Twitter:

https://twitter.com/i_am_hill

Facebook:

https://www.facebook.com/iam.hill.official/

Instagram:

https://www.instagram.com/i_am_hill/

SoundCloud:

https://soundcloud.com/i_am_hill

INTERVIEW: Pale Grey

INTERVIEW:

 ALL BAND PHOTOS: Bettina Gente

Pale Grey

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MY blog is getting rather international…

as, today, I talk to a Belgian band! They are not any old Belgian band: I have been getting to know the guys of Pale Grey. They talk about their new single, Late Night, and working (on it) with Serengeti. I ask them about the music scene in Belgium; what we can expect from the forthcoming album, Waves; the music/artists they are inspired by; what tour dates are coming up – and how they managed to make such a big change since previous single Billy.

I ask them about new acts to recommend; whether music was a bit part of their upbringing; how they all got together; whether the band have formulated any resolutions; how they enjoy any downtime – any advice they would give to new artists.

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

Hi, we’re fine. We had a busy week and are really excited to play Eurosonic Noordeslag festival in Groningen.

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

We are a Belgian band and we are doing a kind of Indie-Hop-Pop music thing; mixing Rock, Folk; Hip-Hop and Electronic stuff together.

Tell me about the song, Late Night. What is the tale behind that song?

We wrote a song for an artist we really love (Serengeti). We’re in contact with his mgmt. and we had the opportunity to propose the song. He was really into and he sent us his part.

We wrote a chorus after that and the song was finished.

It features Serengeti. What was it like working with him?

It was like a dream becoming true...

There are big differences between the song and your previous track, Billy. It seems like you keep fresh and mobile! Do you think it is important to remain nimble and changeable?

We don’t like to limit ourselves.

We like to have the opportunity to do what we want...and that’s the reason. We’re also really into a lot of different music - it’s the reason we like to do different stuff as well.

Waves, your forthcoming album, is out on 2nd March. What kind of stories/subjects are addressed on the album?

We like to write stories about what we hear around us. Our lives are quite easy but, around us, we have some people who are really ‘daily’ heroes: you know; people who suffer but find solutions.

So incredible. 

Tell me how Pale Grey got together. Did you guys all know one another from way back?

At the beginning, we were only two (Gilles and Max). We were not in the same school but our road crossed every morning. We were staring at each other with some questions like: “Who is this guy with band T-shirts?” Then, one day, we spoke together and we found out that we’re listening to the same kind of bands. We started the band and then the two others joined us after that.

You are based in Belgium. Are there quite a lot of new artists playing in the country? Which areas are producing the best work would you say?

Yes. Belgium is a small country but there is really a lot of bands. We are based in Liège - and there are a lot of good bands there.

We are used to playing with them at lots of good festivals.

Tell me about the music you each grew up on. Which artists have played the biggest role?

Since we were teenagers; we always have been into Indie-Rock music: bands like Radiohead, The Notwist; Why and Explosions in the Sky had a lot of influence on us.

IN THIS PHOTO: Declan McKenna/PHOTO CREDIT: Getty Images

Who are the new artists you recommend we check out?

Declan McKenna and Hector Gachan.

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

Neon Golden – The Notwist

Elephant Eyelash - Why?

The Wilderness  by Explosions in the Sky

Hail to the Thief by Radiohead

Is there any advice you would give to fellow artists coming through right now?

Follow your dreams and your taste - and don’t try to sound like someone else: find your own way.

What tour dates do you have coming up? Where can we catch you play?

We’re about to start a European tour.

Find us here:

18/01/2018: Eurosonic Noordeslag  - Groningen - NL

05/02: TUL - Louvain-La-Neuve - BE

01/03: La Parenthèse - Nyon - CH

02/03: Treppenhaus - Rorschach - CH

03/03/18: Ebullition - Bull - CH

04/03/18: Cafe Bar Mokka - Thun - CH

14/03/18: Oasis - Le Mans - FR w/ Girls in Hawaii

15/03/18: El Mediator - Perpignan - FR w/ Girls in Hawaii

16/03/18: Atabal - Biarritz - FR w/ Girls in Hawaii

18/03/18: Rock System - Louvain-La-Neuve - BE

22/03/18: Die Kassette - Dusseldorf - DE

06/04/18: CC Engis - Engis - BE

07/04/18: Ik Zie U Graag - Mezz - Breda - NL

Do you each have any ambitions of resolutions for this year at all?

Playing as much as we can.

Will you all get any downtime at all? How do you spend your time away from music?

Some of us have a real job (besides the band). We like seeing our friends, girlfriends; families...

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

Hector Gachan – UNTITLED '91

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Follow Pale Grey

Official:

http://www.palegreymusic.com/

Twitter:

https://twitter.com/palegreymusic

Facebook:

https://www.facebook.com/palegreymusic/

YouTube:

https://www.youtube.com/channel/UCPEguLa65er9g8gcRmD-yvA

BandCamp:

https://palegreymusic.bandcamp.com/

SoundCloud:

https://soundcloud.com/palegreymusic

Spotify:

https://open.spotify.com/artist/50KI9424n5FMCX9zY2JFcH

FEATURE: A Dangerous Allure: How Opioid Overdependence Is Taking a Huge Toll on Music

FEATURE:

 

A Dangerous Allure

PHOTO CREDIT: Unsplash

How Opioid Overdependence Is Taking a Huge Toll on Music

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I wanted to talk about other subjects this weekend…

PHOTO CREDIT: Getty Images

that included the power of lyrics and how they can comfort us in challenging times; some of the great changes I anticipate in the music industry; an act I am especially excited about right now – a few other things thrown in. Today, right now, I am angered somewhat. Tom Petty died last year and, whilst it is tragic and heartbreaking; something more alarming comes to mind: the fact he died of an accidental drug overdose. His family are trying to raise awareness of a problem in the U.S.: how opioids and painkiller addiction is taking lives. It is something I am seeing too much in the music industry. Prince, in 2016, died of an accidental opioid overdose: the same reason Tom Petty was taken from us. The death of The Cranberries’ lead Dolores O’Riordan took everyone by surprise recently – the world waits to discover why she died so suddenly. She spoke about health issues and how she had to cancel gigs (in the past) because of pain – she was wielding a guitar on stage and, through overuse and exertion; she had to take a break. The medicinal solution to this issue is opioids and painkillers. It is not exclusive to the U.S., as we can see. One cannot assume O’Riordan died due to an overdose - but there is the possibility that is the case. She was in London to record material and was excited by the prospect...

IN THIS PHOTO: Tom Petty/PHOTO CREDIT: Getty Images

Although she battled mental-health issues; it would be rash to think that contributed to her death – especially, given the reason she was in the U.K. and the fact she seemed in a positive frame of mind. The Irish musician spent years with a heavy guitar and was an active performer. It was inevitable there would be certain repercussions and effects from that lifestyle. Doctors, I guess, have to prescribe the medication they feel will best treat the ailment. The same is true of Petty: he was suffering various conditions and was very ill before he accidentally overdosed. Petty suffered a massive cardiac arrest and had painkillers and anti-depressants in his system. His wife and daughter, Dana and Adria, revealed Petty suffered mobility issues. He had movement issue as a result of fractured hip but continued to tour – determined not to let his fans down. He performed as much as he could and, the more he got out on the road, the worse the pain became. His death was not a way out of that cycle: he was upping his intake to suppress the pain; unaware of the toxicity and lethal effects. Maybe we can apportion some blame to the music industry itself: it is putting too much demand on artists and, for those who have been in the industry for a long time; they are more susceptible to injury and serious damage.

IN THIS PHOTO: Lil Peep/PHOTO CREDIT: Getty Images

Lil Peep, a U.S. rapper, died last year because of a fentanyl and Xanax overdose. Perhaps the reason for his death was different to that of Petty – maybe it was a recreational thing; seen as the ‘done thing’ in the Rap community – but it has claimed a life. I refute that assumption. I think the rapper had emotional pains and anxieties: that drug took the edge off and, as his pain worsened, his dependency increased. It was a senseless loss of someone barely out of their teens. The Centers for Disease Control and Prevention has highlighted the epidemic: in the U.S., over 42,000 people were killed by opioids in 2016 – this is more than any other year on record. Petty’s death was a shock; Lil Peep’s passing was tragic. Every death associated with opioid overuse raises alarms and adds to the tally. Prince was, unfortunately, part of the 42,000 people who were killed by opioids in 2016. He overdosed on fentanyl and, having incurred medical issues because of his performing lifestyle and susceptibilities, paid a huge price. One does not know – as he died at his Paisley Park home – whether he was in extreme pain and needed to eradicate it; maybe he was hooked on a cycle of overuse as a preventive measure. Doctors do offer warnings - but should we be looking at the addictive nature of these drugs?

IMAGE CREDIT: Heroin.net

I cannot ethically claim Dolores O’Riordan is the latest casualty – it is merely a suggestion – but we are seeing more and more musicians either taken by opioids or suffering because of them. Tom Petty has grandchildren - he did not want to tour forever. He knew that lifestyle was unsuitable for someone in their 60s. He was a consummate performer who put his all into every performance, though. The needs to please every fan and give his all, naturally, affected his health and physical wellbeing. He was physically unable to bear that pain without the assistance of prescription medication. The more he was demanded; the greater the need to see Petty take to the stage – the more physically demanding his life became. He may not have been aware of the number of opioids he was taking: it may have seemed logical to exceed the dose, so long as he did not go to extremes – maybe not thinking what the cumulative, long-term effects would be. You can say the same in the case of Prince: in order to record and mobilise his music; the icon needed to numb the pain and ensure he was able to perform. It is tragic when one considered these deaths were accidental. The musicians themselves were not ignorant: proper warnings had not been put out; they were unaware of the addictiveness of the painkillers and what effect it would have.

IN THIS PHOTO: Prince/PHOTO CREDIT: Getty Images

Maybe Petty and Prince took a few too many pills. They did so not to self-destruct and end their lives: they were in pain and that they saw it as a way of getting rid of that. Maybe that is a semantic obfuscation: neither artist was suicidal. I am not sure about Lil Peep - but I assume he was not trying to end his life. He was in pain, psychologically, and felt it was the best way to take the edge off things. The problem of opioid overuse is acute in the U.S. Doctors are prescribing it to patients and, without underlining how serious the problem at hand is – how many are dying because of overdosing – they will continue to dispense them without considering the ramifications. In some corners of music; there is a rather casual and disturbing ignorance regarding drugs and recreational use. Artists like Lil Pump have boasted about their opioid use and see it as a minor thing – his contemporary Lil Peep did not have the same brazen and foolish approach to the drug. The U.K. is seeing cases of artists getting hooked on opioids; some overdoing and others seeing it as the only recourse to crippling pain. Rather than retire from music and rehabilitate: they are being prescribed these drugs and, without thinking, popping them to ease the pain. From that, we can ask two questions...

PHOTO CREDIT: Unsplash

The first revolves around the physical demands of music and whether, when an artist starts feeling the pain of constant touring, they need to take time out and not push on. That might be a battle against stubbornness - but the results of ignoring the warning signs are claiming the lives of wonderful artists. It might hurt them in the short-term (in financial terms) but we need to promote the message that this is okay. Being healthy and safe is more important than doing irrevocable damage to yourself. Fans might be disappointed but that is the compromise that needs to be taken. It is understandable being torn between that desire to preserve self and satisfy the fans’ demands. We need to get a message out to musicians that, if they feel pain and are prescribed opioids; they need to rest and not take more than the stated dose. It seems there is an addictive quality to some of the prescribed medications – this provokes a question. Should we look at drugs like fentanyl and seek to limit their use? Maybe another drug would be a wiser option? I am not going as far to say physical therapy would be an effective alternative - one cannot get the same benefits from homoeopathic measures and simple rest. There is a reason why people are prescribed painkillers. If there were a few deaths here and there; we could let it lie and not get too affronted: the fact thousands are being lost to opioids means we can no longer ignore the pandemic!

At the very least; there needs to be campaigns and discussions that highlight the figures and human toll. It is not scaremongering or radicalisation: merely a way of providing disclosure and facts. I wonder whether artists like Tom Petty, Prince and Lil Peep – and O’Riordan, perhaps – could have lived (a lot longer, at least) were it not for the opioids they were prescribed. It is a complicated issue and one that is not black-and-white. The music industry is open to all artists and, if you are a legendary artist of many years’ standing; the road and stage are open and available, still. The result of the years in music – and the physical strain it places on an artist - means they are turning to painkillers simply so they can perform to their fans. I am worried the industry is not doing enough to dissuade artists to avoid needlessly pushing themselves and, if they cannot continue due to pain; ending their careers before they needlessly overdose. It may be impossible but we cannot sit back as musicians are taken from us. It is clear there is an issue to be tackled. The sooner affirmative action is taken; the more lives we can save…

PHOTO CREDIT: Unsplash

IN the future.    

FEATURE: Infamy as Child: Social Revolution and Sexual Evolution in Music

FEATURE:

 

Infamy as Child

IN THIS PHOTO: SZA/PHOTO CREDIT: Rex

Social Revolution and Sexual Evolution in Music

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I hope we have got to the point where rote…

PHOTO CREDIT: Unsplash

sexual encounters have a diminished role in music. Brash sexualisation is not an optimal position for today's music: at a time where morals are being questioned and high-profile celebrities are being examined, accused and punished – can we expect some of music’s disgraced hang-ups to exist and influence?! I have been thinking about the past year in society and how we have got to where we are. Actors, directors and various male figures have been brought to the fore: accused of sexual indiscretion and stepping over the line. There have been arguments about where the line is: what constitutes consent and how do you define ‘acceptable’ physical contact? The answer is a lot simpler than the argument suggests: any form of unwanted contact is unacceptable. The controversy around the #MeToo movement and the furore surrounding Aziz Ansari. The comedian has divided opinion and blurred lines regarding sexual consent and truth.

Sarah Solemani, in The Guardian, added her voices to the debate:

“Let’s get real about what a social movement actually is. It does not come organised, strategised, streamlined and clean. It does not come neatly presented by experienced journalists and authorised by legal ombudsmen. It’s messy. It’s chaotic. It ebbs and flows and expands and retracts because it’s a human phenomenon. It takes place in the streets and in unofficial publications, and is propelled, most crucially, by a collective imagination. And historically, the imagination of a movement is led by the young. This is where we are now: the hard bit, the exciting bit, the bit that counts”.

IN THIS PHOTO: Aziz Ansari/PHOTO CREDIT: Getty Images

There has been a lot of debate around this case: whether he is in the wrong and why the backlash against him is unjustified. It is the latest case study in a growing narrative that raises questions and calls for greater discussion. I am not going to throw my hat into the ring and offer an opinion regarding Ansari: I wonder whether the ongoing story will impact music and change the way we discuss sex and physicality. I will bring in another article from The Guardian – where they look at the way music has changed since the Robin Thicke/Blurred Lines ‘regency’ of 2013. The questionable suggestions and seedy mantras seemed, to the naïve and mindless Pop fans, like ordinary words that held no real meaning. To those listening clearly – including the estate of Marvin Gaye; they successfully sued the song’s writers over copyright infringement and intellectual theft - there was something very wrong working under the skin. The article added another dimension to my thought’s train. I have noticed a shift: a move from the overtly sexual to the more tempered and safe brand of sexuality. I have written about misogyny in music - and whether sexual equality is possible.

IN THIS PHOTO: Christina Aguilera/PHOTO CREDIT: Getty Images

I was concerned, last year, that we would enter this year seeing a rise in the salacious and undisciplined approach to sex in music. Whether it is the Dirrty-era Christina Aguilera; images of a young Britney Spears cavorting in a school uniform (…Baby One More Time); the sexual liberation of Beyoncé on her eponymous album – can we support that kind of imagery and vocabulary given what is happening around us?! Beyoncé’s brand of self-expression and sexual freedom is different to the somewhat ill-advised and overly-explicit form of Pop we saw from Aguilera and Spears. You can say, in each case, there was no harm done and it was an innocent bit of fun. The artists were trying to sell records and, during that time, we did not have the same sort of concern and problems arising. None of those songs has corrupted society and set the course of sexual equality and consent back: looking at these songs, however, and one gets a rather bitter taste in the mouth. I am one who feels there is a thin line between sexual expression and going ‘too far’. Certain artists (like Beyoncé) are showing their femininity and taking pride in their sexuality. It is hard to say whether other artists are exploiting their bodies for commercial gain – or they are presenting their own version of self-confidence and emancipation.

IN THIS PHOTO: Dua Lipa/PHOTO CREDIT: Getty Images

It is not only reserved to female artists: male musicians have muddied the waters and, in certain genres (Rap and Hip-Hop especially), we continue to see an alarming amount of explicit images – in music videos – and profane songs. I feel we have cleaned up a lot over the past few years. Modern Pop singers, male and female, are talking about sex in different ways. We still see a few scantily-clad and teasing videos/songs – new artists like Dua Lipa are showing their femininity and discussing sex in a very open way – but there are fewer artists that raise eyebrows. I think the unseemly case of Robin Thicke helped move Pop/music away from a very bad place: the nature of consent was questioned and we have tightened morals, to an extent. I am still seeing too much sexism and over-sexualised content in some areas of music: for the most part, changes are being made and, with the spotlight and augmentation of new female artists; there is hope greater parity and understanding will come into music this year. The Guardian article I read raised interesting points:

“…But pop’s portrayals of sexuality have been complicated – and muted – by an unusually eventful half-decade. Intimacy has been corrupted by technology and anxiety. Female artists are redefining sexuality. Would-be seducers must acknowledge conversations about consent and gender politics. Provocateurs who aren’t progressive are soon rumbled. R&B is grappling with what pleasure looks like when black bodies are under siege from police brutality and cultural fetishisation. And LGBTQ listeners are demanding more than rote heterosexual hook-ups. This immediacy is nothing new – pop has always either shaped or reflected the social and sexual mores of its era – but the outcomes are”.

The game is changing – it NEEDS to change – and music cannot commercialise male artists who take a very chauvinistic and unwise attitude to sex – thinking they can touch a woman because their ego and status are huge. As I said; I am not going to put my boots on and wade into the waters of the #MeToo campaign. There are debates and arguments from both sides; revelations and accusations are coming through – the shockwaves and impact from women speaking up has not only reverberated in film/T.V. Music is accountable and, whilst not as culpable in terms of sexual indiscretion; artists cannot conceivably return to the manufactured sexuality we saw in the 1990s and early part of the last decade. There is manufactured sexuality from both genders: it is more potent and prolific in female acts; perpetrated and controlled, to an extent, by male-run labels and directors. There are still lurid and softcore videos/songs in music but far fewer than recent years. What I am noticing is how relationships and the nature of sex is changing. Modern artists like Rina Sawayama are talking about other areas of life: social anxiety and the effects of the Internet; dealing with more pressing and personal viewpoints. Transcending from sexual promiscuity and near-the-bone artists: today, artists, female and male, are talking about matriarchy, empowerment and morals.

IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Getty Images

Beyoncé’s Lemonade pointed the finger at a cheating spouse (although she has claimed, in some sources, it was not about Jay-Z’s infidelity); young up-comers like SZA and Cardi B are addressing other aspects of their social life. Rather than talk about getting laid and going out to meet a guy – they are talking about Netflix-and-chill preferences and cosying up for the night. That might be a rather binary and simplified conclusion: there are plenty of artists who still talk about the club and riding-until-they-drop; male artists who are materialistic, obsessive and porn-y. Female artists are still exploring sex but employing it in different ways. Whether an alleviation of stress; a cessation (of sex) due to anxiety and the pressures of music – more ‘modern’ influences are coming into play. Artists like Sawayama are talking about social media, technology and a night in with her phone – using metaphors and double-meaning to portray something sexual through electronic communication. Black artists, including modern R&B/Pop artists, are challenging the racism in their country. With Obama out and Trump in; there is great repression and the need to speak out. Racial aggression and (those of colour) being overlooked means a lot of black artists are talking about the fight ahead; battling the oppressive government and their ignorance: sex still plays a part but it is taking a back-seat to other concerns.

IN THIS PHOTO: Julia Michaels/PHOTO CREDIT: Getty Images

At a time where we are aware of L.G.B.T.Q. issues and cultures; sex and music are evolving and stepping away from the less developed and educated days. A lot of modern Pop/R&B songs are being penned by L.G.B.T.Q. writers: with that, listeners are being informed of the spectrum of sexuality; the complexities inherent in modern society – learning more about emotional issues rather than sexual desires. Maybe the Internet has made us more anxious and anti-social; we are staying in more and slavishly deferring to the control of our devices and tablets. Modern female artists like Sigrid, Billie Eilish; (even Dua Lipa) SZA, Kelela and Julia Michaels – as was outlined in The Guardian’s piece – are not letting men speak for women; they are aware of their sexuality but are more concerned with solidarity and depth. These artists do not flash their bodies and see themselves as inferior and the hunted: they are empowered and intelligent women who enjoy relationships and sex but are using their platform to talk about the struggle of their gender and what changes need to be made. Some might look at this assumption and think the music scene has gone tame. Sexual explicitness was once the cornerstone of Rock: listen to bands like Led Zeppelin and one blushes through a large section of their back-catalogue. Music took a while to evolve and look inside itself but, because of recent developments; the need to change and proffer artists with greater wisdom and conscientiousness is evident.

IN THIS PHOTO: Led Zeppelin/PHOTO CREDIT: Rex

We have seen sexual shifts in music over the past couple of decades. From the bold and forward bands like TLC and En Vogue – who were modest in their fashion but talked about sex in an open way; ensuring they were safe and not allowing the man to dominate – to the little-left-to-the-imagination breed that includes Britney Spears and Rihanna (years apart but similar ideals)…we have come to a point where modernisation, greater understanding and a more complex, mature attitude to sex has defined the music we hear. It does not mean we have lost libido and are too scared to talk about one-night stands and the thrill of the chase: the language is smarter and prurient; the broadness of the sexual spectrum has added colour and conversation; technology and the changing nature of modern relationships means things, to an extent, are more digital and less physical. The greatest change we have seen – and evolution that will happen this year – is a greater sexual equality and artists, mainly male, thinking twice about how they address women and consent in music. One cannot allow grabby hands are ego-boosted artists the freedom to talk about sex in a very obnoxious and troubling way. We are seeing a social revolution occur where male stars are no longer immune from professional castration and exsanguination.

PHOTO CREDIT: Unsplash

I have brought other voices into my piece because they are noticing what I am: music is discussing sex and relationships differently to years past. There is a lot of debate around various accusations where one draws the line: who is to be believed and how far is ‘too far’. Whilst there are some clear-cut culpable: there are a lot of others making the news where the reality is far from clear-cut. This obfuscation needs to be tackled but, for music, artists are seeing what is happening and thinking about what they write – lest they be subject to recrimination and accusations. This is a good thing and, the more we tackle loose morals and questionable sexual motives; the sooner we can create genuine change. The debate around sex and unwelcomed notoriety in the entertainment industry impinged on the music scene: 2018 is going to be a year where we will see some great steps take place. The more conscious musicians are to what is happening around them…

PHOTO CREDIT: Unsplash

THE richer the music scene will become.    

FEATURE: Life on Mars? Will We Ever See Another Icon Like David Bowie?

FEATURE:

 

Life on Mars?

ALL PHOTOS (unless stated otherwise): Getty Images

Will We Ever See Another Icon Like David Bowie?

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IT might not seem the timeliest of questions…

PHOTO CREDIT: Terry O'Neill/Getty Images

but David Bowie’s name is never too far from those who adore music. A couple of weeks ago, we had a bittersweet remembrance: on the 8th (January), we marked two years since Blackstar was released; two days later; we had to remember the two-year anniversary of Bowie’s death. In a distant world full of alienation (in our alien nation); there is an odd chill and loss following Bowie’s death. It is not as though we were all expecting something biblical back in 2016. Many could argue Bowie’s best days were past him: 2013’s The Next Day was a well-received album but it has been a while since a new Bowie album bowled critics over. His 2000s/2010s period is not considered his finest, I guess. Blackstar, however, changed the game. It was an extraordinary album (I should stop using the past-tense) that took everyone by surprise. We only had two days to absorb the album before Bowie’s death – a double-blow that people are still reeling from. 2016’s Blackstar was the last revelation and revolution from the wheel re-inventing songwriter. Although he was ailing and not long for the world; Bowie addresses death and vulnerability unlike any time in his career. It is one of the most experimental and ambitious records of his late-career cannon. Jazz horns and incredible sweep; epic songs that are among the most scintillating and stunning he has ever recorded. The fact he managed to record an album whilst suffering from cancer is amazing in itself.

The master did not want to let the illness to define him and rob his spirit! Of course, mortality and the afterlife were investigated by Bowie. In some numbers; he envisaged himself looking down from Heaven (or space) and viewing the world from the other side. It is heartbreaking to think we will not see another David Bowie album: a fresh incarnation that addresses a new phase in life. One of the biggest questions, following his death, is whether he can ever be replaced. Many see Bowie as a true original: a unique nebula that has changed music and popular culture but, in the manner he did it; meant there was nobody else who could match him. I am not saying we need a like-for-like Bowie clone: merely someone with the same endeavour, stylistic intelligence and evolutionary process I have chosen David Bowie because that evolution is not limited to the music: look at the fashion and ‘look’ of Bowie and here is a man who was always thinking about the next stage. Not only was the musician a talented actor but he was a painter and bit of a visionary. In early interviews; he forecast the effects the Internet would have on our lives; how it would change communications and take a much bigger role in society. Bowie’s meeting with Lindsay Kemp – who would have a big impact on Kate Bush’s life – introduced him to dance, theatre and the avant-garde.

This theatrical reawakening connected with a young man looking to forge a persona. It wasn’t until 1971’s Hunky Dory when we started to see the inventive and persona-led side of Bowie come through. His music was innovative before that – it was this album where we began to see sweeping Pop and that mix of low and highbrow. Sexuality, art and the kitsch were investigated through the album. Changes is, perhaps, the most autobiographical cut on the record: a song where strange and wonderful artistic revelations were blossoming inside the musician. Songs such as Life on Mars? and Queen Bitch opened eyes to a man who was unlike anything out there. He was, ironically, ‘out-there’ and on his own plain. 1972’s The Rise and Fall of Ziggy Stardust and the Spiders from Mars is about a fictional androgynous, bisexual Rockstar who acts as a messenger for extra-terrestrial being. The character of ‘Ziggy’ is part-Iggy Pop and bits of British Rock ‘n’ Roll singer, Vince Taylor. Bowie wanted to create a character who was like an alien: someone who had dropped from Mars and was settling on Earth for the first time. The androgynous clothing and looks; the outrageous fashions and bold moves – another step forward and change from David Bowie. There has been changes and shifts prior to Hunky Dory: this creative period was the most experimental and radical of the songwriter’s career.

Glam-Rock and pantomime fed into; there was Heavy-Rock and Jazz-Folk – a heady brew and concoction of sounds and genres. Armed with Mick Ronson’s muscular guitar; Bowie and his band created something singular yet familiar. It was the work of David Bowie but it was a new incarnation. 1973 was not a time for Bowie to rest: the prodigious songwriter moved onto Aladdin Sane: its cover was one of the most iconic of his career. It was a less intimate record than Hunky Dory: it is an urgent and bracing album that took risks and chances. If the music was charged and new – songs like The Jean Genie and Cracked Actor were like nothing he had ever crafted – the image of the man was a slight upgrade of Ziggy Stardust. The lightning-bolt decals and radical hair was a similar alter-ego – it would be hard to make such a huge leap given that short timeframe. It was, however, Bowie moving once more and trying out new things. In the 1970s, with stars like Marc Bolan popular at the time, there was that curiosity and sexual revolution; the androgynous figures who broke ground and, through Glam-Rock, added something new to music. Incredible fashions flowed and it was a heady time for those willing to break the rules. 1974’s Diamond Dogs was one of the last iterations of Ziggy Stardust.

The look was still, sort of, there but Bowie was taking in new inspiration. A marriage of Nineteen Eighty-Four (George Orwell) and Bowie’s own vision of a post-apocalyptic world – it was an album that was the last hooray of his Glam-Rock period. It was his first album since 1969 to not feature any of his ‘Spiders from Mars’ backing band. Bowie saw the album as more personal and ‘him’ than anything he has ever done. It was, in kind, a ‘protest album’ that dispensed with his older images and moved into the next phase. Diamond Dogs’ raw guitars and views of urban chaos brought nihilistic lovers and desolate lands. It, in a way, foreshadowed the Punk revolution that would kick-off in 1975 - and opened the eyes of rebels like Johnny Rotten and Sid Vicious. Although critics were not as hot over Diamond Dogs – compared to records like Hunky Dory – it was another retooling and look. Maybe critics were unsure how to see the album: the fact Punk had not really exploded meant Diamond Dogs was ahead of its time – if only by a few months! Bowie’s 1990s/2000s work has plenty of new creation and musical shifts; it was productive and celebrated – the last real evolution was his exceptional 1975-1977 one-two-three: Young Americans, Station to Station and Low.

The new ‘Plastic Soul’ sound Bowie was interested in took shape on Young Americans. Recording took place in Philadelphia and, with producer Tony Visconti; it brought in a variety of other artists – including singer Luther Vandross. Bowie sourced from the music-halls and, as he would do did during his time in Germany, took from the local sounds and fashions around him. Bowie was proud of the album and saw it is a survivor against the assault of Muzak-Rock and derivative sounds. It was a “white limey” reinventing U.S. soul and bringing it to new faces. Station to Station was a transitional album that is seen as his most significant and best. It was the vehicle for his persona, the Thin White Duke, and followed Bowie’s role in the film, The Man Who Fell to Earth. Bowie developed the Funk and Soul sounds of his previous album on Station to Station; presenting synthesisers and motorik rhythms; bringing in influences of Neu! and Kraftwerk. It remains one of Bowie’s most accessible albums of all – it has impenetrability and complexity but resonated with critics. It is seen as a landmark album and one of the finest records ever. Low (1977) was the first of three collaborations with Brian Eno and Tony Visconti (the ‘Berlin Trilogy’) and marked a move towards Electronic music and the avant-garde. Side one contained shorter, direct songs: the second side was more instrumental and experimental.  

Bowie was struggling with drug addiction during the recording and some felt Low was a muddled and out-of-sorts record. Retrospective reviews have highlighted how influential and transformative Low really was. “Heroes”, also released in 1977, was the only one fully recorded in Berlin. It continued his work with Electronic elements and an ambient approach – bringing in darker atmospheres and passionate statements. It is one of his most determined, positive and uplifting statements. After the appropriately-named Low; people wanted something a bit more – something more spirited. Bowie delivered than and, in doing so, crafted another genius record. It was YET another sonic alteration and growth; a slight trimming of his wardrobe and the ever-curious songwriter taking inspiration from new bands and people. There would be other terrific Bowie albums and reinventions – 1983’s Let’s Dance saw him attempt black Funk and end, what was considered, one of the greatest winning-streaks in music history – but “Heroes”, perhaps, was the last really big statement. It is amazing to think of the amount of work David Bowie put out. Between 1971 and 1977; Bowie released NINE albums. 1970’s The Man Who Sold the World was the tremendous indication of what was the come: a fantastic record that really got under the skin and introduced the world to David Bowie. 1979’s Lodger saw Bowie bring World music into his chest but it was not considered as big a revelation as previous work – although the quality was still there and amazing critics (1984’s Tonight was a clear sign that the steam had run out and a rest was needed!).

It would be inconceivable to expect any modern artist, band or solo artist, to produce an album every year! The fact Bowie not only did that but, with every record, create something unique means we can never really expect anyone quite like him. What I DO want to see if an artist – whatever configuration or genre – to take the initiative and pick up Bowie’s torch. He did not make changes and create such a legacy to have it heard and admired – and not have anyone learn from it and make a change. Bowie wanted to change the world (and did) and push the boundaries of music. Maybe too much ground has already been broken – genres covered and boxes ticked – but that doesn’t mean modern artists need to stick with one style or ‘face’. Yes, some artists do evolve between albums and do something daring: too few make radical changes and take risks in music. Regarding Bowie’s fashion and images; how many modern artists have the dare and innovation to try something like that in today’s scene?! I would say nobody has the same mannerisms and mindset as Bowie. That is no bad thing but have we got to a point where homogenisation and structure rule music?! We need a lot of things to happen in new music: crafting innovators and daring icons are among them. One would not expect something paradigm-shifting and world-changing: merely, an artist who goes that one step further and has that interchangeable desire. Bowie was unique but we know how influential his music is. It has been inspiring generations and has, in its own way, progressed music and broken barriers. I hope there is someone out there who picks up his mantle and realises how sorely music needs the kind of spark David Bowie gave to music. Maybe the ‘Internet Age’ has lateralised and transformed music so those rebels and innovators struggle to make an impression. I know, out there somewhere, there is a musician who can launch and develop a career…

IN the guise of David Bowie.   

FEATURE: Vinyl Corner: Pearl Jam - Ten

FEATURE:

 

Vinyl Corner

PHOTO CREDIT: Lance Mercer 

Pearl Jam - Ten

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THIS is a segment where I select an album…

IN THIS PHOTO: Pearl Jam (1991)/PHOTO CREDIT: Lance Mercer/The Hell Gate

I think sounds best when played on a turntable. There are a few records that achieve their maximum potential when you drop the needle and let the vinyl goodness wash over you. In a previous instalment; I looked at Joni Mitchell’s Blue – one of those albums that is sublime when played on a C.D.: it achieves new realms of delight when spun on a record player! You only need look at the sales figures and facts around Pearl Jam’s Ten to know why the album continues to inspire so long after release. It is the debut album of the Alternative-Rock legends – many feel they have not equalled the brilliance and impact of that initial recording! A lot of the songs began as instrumental jams between the members of the newly-formed band. Eddie Vedder – their acclaimed singer – would then put his lyrics on the top. Songs looked at the nature of depression and abuse; homelessness and death – in 1991, when Grunge was in full-swing; these kind of songs were quite common and popular. Nirvana released their debut, Nevermind, in the same year: the latter became a megahit success for the Seattle band; Pearl Jam’s Ten was more of an 'outsider'. It is not quite Grunge: the sound (they make) harkens back to the Classic-Rock and Alternative bands of the 1970s, to an extent...

IN THIS PHOTO: Pearl Jam (1991)/PHOTO CREDIT: Getty Images

It is grizzled and grimey but cleaner and more stadium-aiming than the likes of Nirvana. At a time when U.S. bands were ruling the planet; many could forgive critics for overlooking Pearl Jam – so hectic and busy was the scene back then. There were many, at the time of the album’s release, who accused Pearl Jam of trying to jump on the Grunge bandwagon, Jeremy, one of their big singles, is a definite attempt to replicate the same sort of sounds as Nirvana, Soundgarden and their contemporaries. Any accusations that song was trying to mimic should remember this: it was recorded and released before Nirvana’s Nevermind. Pearl Jam were responding to something in the air: a feeling and sound that was much-needed in the music world. They helped popularise Alternative-Rock and bring it more into the mainstream. Released on 27th August, 1991; Ten has shifted well over ten-million copies. It is the most commercially successful album of the band’s career and, in 2018, is still being incorporated into music. I hear a lot of bands with a Ten mindset: those big, dramatic songs all scored by a gravelled and impassioned voice. Vedder, to me, represented an alternative to the likes of (Nirvana’s) Kurt Cobain. It was less intense a performance, perhaps – in terms of volume and shouting – but a more rounded voice.

IMAGE CREDIT: Getty Images

Those deep tones could elevate into a falsetto: it could do soft and contemplative; rising to the heavens and taking the listener somewhere extraordinary. The band’s tight and exceptional performances meant the album became a huge hit in the 1990s. San Diego musician Vedder, before the album was recorded, heard demos his bandmates had recorded. Guitarist Steve Gossard and bassist Jeff Ament, alongside Mike McCready and Matt Cameron (the drummer with Soundgarden) began to put the songs together and, with Vedder, mould Ten. Several of the album’s songs began as instrumentals: Vedder added lyrics later (after he joined the band) and, with regards their content; the singer claimed it was about living in the moment. Depression and murder are addressed – but the album is never overtly-dark and repressive. It is about the realities of life and the openness of the human soul. He did not want to hide his feelings and, instead, allow the listener into his mind.  It is a record that takes risks and is dating – Why Go talks about psychiatric hospitals – and compelled a generation. Tracks such as Alive became anthems for youths at the time – in no small part because of its inspiration and uplifting sound. Alive – about a boy who discovers the man he thought was his father is actually his step-father (his real dad died years before) – was taken from Vedder’s own experience. When he was seventeen; Vedder found out his father was actually his step-father – and his real dad has died a long time ago.

I have thrown a spotlight on Ten before but, as I seek for something equivalent in the modern scene; my mind goes back to the 1991 album and how important it is. We have not really seen a band like Pearl Jam for some years. I know there is a demand and room for a group who can produce the same sweeping songs that deal with weighty subjects. We have some great bands coming through: none have the same clout, roar and drama as the U.S. band. There was something about the album’s timing that stirred up excitement. The stadium sounds of the 1970s – and all their heavy-riffed songs – mixed with 1980s Post-Punk and some of the of-the-moment Grunge movements. It was a cross-decades release that, unsurprisingly, appealed to a broad demographic. Bands who thought like Pearl Jam were given the impetus to rise and play – new idols were showing them the way and opening up their mind. The album was a huge hit that saw the band much-demanded and busy. They opened for Red Hot Chili Peppers (during their Blood Sugar Sex Magik tour) and were splitting their time between Europe and North America. 1991 was a fantastic year for music and one where new artists, if they produced an album strong enough, got the chance to play some incredible gigs; support some big names and get their music played across the world.

It was a vibrant and stunning time for music. Maybe there is little of the wit that made Nirvana stand out from the crowd: Pearl Jam are a more serious and overwrought band. The music and lyrics connected with people; the fantastic band interplay meant they were playing around the world; the music has endured and survived this long – and continues to influence bands. The eleven-track album (the original release) had some Grunge shades but stood apart from the zeitgeist at the time. If Pearl Jam had tried to compete with Nirvana; they might not have enjoyed the same success and made the same impression. As it was; the band took their own path and created a wonderful record. It is seen as one of the finest debut albums of all-time: other definitely put it among their choice albums ever. It is cited by critics as a ground-breaking and extraordinary work of brilliance. This is all true - but what resonates inside me is how the songs come alive on vinyl. Ten sounds fantastic however you play it: on vinyl, it assumes a new life and promise. It is intense listen but one that changes the listener. You cannot casually hear the album and let it swim into the background: it demands full involvement and concentration from its subjects! I would urge people to get the album (on vinyl) and let it do its thing. Twenty-seven years after its release; Pearl Jam’s keeps offering up revelations, insights and joy-bombs. It unfurls and teases; it brings you in and lets the music wash over the skin. It is a masterful work from a band who, in the space of a single record, helped bring Alternative-Rock…

IN THIS PHOTO: Pearl Jam (1991)PHOTO CREDIT: Lance Mercer

INTO the mainstream.   

INTERVIEW: Chiara Berardelli

INTERVIEW:

Chiara Berardelli

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SCOTLAND is back in my heart…

.as I speak to Chiara Berardelli about her new music, desires for this year - and her upbringing in the Highlands. She talks about her time there and what life was like for an aspiring musician. Her forthcoming album, Seamonster, was recorded in Glasgow’s West End – Berardelli tells me about her experience there and the themes that go into the album. I ask her about the new single, Deep Sea Hibernation, and whether there is a story behind it.

She talks about her influences and favourite albums; how she came into music; whether she feels she’s developed since her debut in 2010 (Don’t Be So lovely); if we can see her tour anytime soon; advice she would give to new artists – and how her personal struggle with involuntary childlessness has impacted her forthcoming album.

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

Hi, there. Good thanks...though, I’m a bit upside-down. I just came back from New Zealand - and I’m sleeping all day and awake all night!

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

My name is Chiara Berardelli and I’m a singer-songwriter. I write mainly on piano - but also guitar when I need a change. I tend to write about life and how it affects me. My songs are pretty personal, I guess: although, sometimes, a book, play or a conversation can inspire me.

Deep Sea Hibernation is your latest single. Can you tell me about the song and the story behind it?

I was listening to the news on the radio the day they woke up the Rosetta probe - which had been asleep for two years as part of its space mission to land on a comet. The newsreader referred to this as "deep space hibernation" - which I thought was an amazing phrase.

At the time, I was feeling very low and the idea of hibernating for two years - until the storm blew over - seemed very attractive…so the story struck a chord with me.

I know regrets about motherhood are at the heart. Was it cathartic exploring something upsetting and deeply personal in that song?

I find writing a song about a personal issue is always cathartic. It’s a way of externalising feelings and thoughts and, finding a way of putting them into words and to music, somehow, makes them one step removed from deep inside.

I hope that makes sense!

The album, Seamonster, arrives in March. There are nautical suggestions. Were you inspired by the sea and the underwater?

Seamonster is more of a metaphor, really.

I always wanted to have children and, when it didn’t seem to be happening for me; I think I coped by stuffing down the feelings and being in denial. Then, at some point, the sadness about it all seemed to come from nowhere (like a sea monster) - rising from the deep and turning my life upside down.

I believe the album charts some up and downs. Was it hard being so honest and revealing on the album? Do you feel you learned anything about yourself during recording?

I don’t find it hard, to be honest. In my songs, although, sometimes; it takes a while to find the right words to use. I think there’s (probably) only one song on the album, Sanctuary, which makes reference to what the album is about: the rest depict emotions that, I think, could be about many different situations.

There is one song, Days, which I found very exposing the first few times I performed it live. It’s about loneliness: the days when, as a single person, all you notice is couples everywhere – and, when I first sang it in public, I felt sort of ashamed. I don’t anymore, though, and it’s becoming a wider-discussed issue…so that’s good.

It was recorded in Glasgow’s West End. What was it like during that time? Did the energy and unique persona of Glasgow affect the record in any way?

The studio I recorded in is part of an artists’ community in the West End of Glasgow. It felt very inspiring to make my way there every day. I worked with a fantastic producer, Johnny Smillie, and I loved every minute in the studio…well, almost every minute!

You grew up in the Highlands. Which artists first struck your ear? Was there a local music scene when you first got interested in songwriting?

I was pretty isolated, musically, in the Highlands to be honest. We lived on a remote farm and music was pretty hard to come by. If there was a local music scene then I didn’t find it!

I mainly listened to the charts, then - but anyone who wrote songs and performed them on the piano, like Billy Joel and Elton John, was an inspiration to me.

Many journalists overlook Scottish music. Do you feel more of us should spend some time investigating the music Scotland is putting out?

In a word, ‘yes’! Glasgow is a good place to start...

How do you feel your music has developed over the years? Do you feel you are a more confident and changed songwriter to the one who released 2010’s Don’t Be So Lovely?

Yes, I do.

I think I have more objectivity about my own songs - which is something that comes with time. Maybe, the biggest change, though, is in the studio. I’ve got more used to the process of taking the song I’ve written on one instrument and opening it out to involve other musicians - as well as the actual recording process (which is an art in itself).

Who are the new artists you recommend we check out?

I confess I haven’t been listening to much new music recently as this album has sort of taken over the last two years! Before that, though, I was listening to a lot of Tiny Ruins: a trio from New Zealand. They’re not new - but were new to me - and I heard them first at Celtic Connections.

They make beautiful songs - and I love her voice.

IN THIS PHOTO: Hollie Fullbrook (Tiny Ruins)/PHOTO CREDIT: Georgie Craw

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

Ooh; that’s hard…ok…

Lagoon Blues - The Bathers

I used to listen to it for hours when I moved to a remote Scottish Island - and was seriously wondering why. It got me through!

Dummy by Portishead

Something about the mood of the album: it’s like a wave washing over you. I never get sick of listening to it…

In Rainbows - Radiohead

There are always some new layers to discover when I listen to this. Again; never tire of it.

Is there any advice you would give to fellow artists coming through right now?

Believe in yourself. You have to start from there; don’t compare yourself to others: you are unique...

Develop your own songwriting and sound.

What gigs do you have coming up as we head through 2018?

We’re playing at The Speakeasy, The Voodoo Rooms (in Edinburgh) on 25th March and The Glad Café in Glasgow on 30th March.

There’s going to be a U.K.-wide tour in the autumn.

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).

How about Me at the Museum, You in the Wintergardens - Tiny Ruins

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Follow Chiara Berardelli

 Official:

https://www.chiaraberardelli.com/

Facebook:

https://www.facebook.com/ChiaraBerardelliMusic/

YouTube:

https://www.youtube.com/channel/UCjNSpT3BitqqUE8orILT4QA

BandCamp:

https://chiaraberardelli.bandcamp.com/

SoundCloud:

https://soundcloud.com/chiaramusic

Spotify:

https://open.spotify.com/artist/5bXNaBxnzz23fxGUVjAoUp

TRACK REVIEW: The Ries Brothers (ft. Ted Bowne) - No Place I’d Rather Be

TRACK REVIEW:

 

The Ries Brothers (ft. Ted Bowne)

PHOTO CREDIT: Matthew Stocke

No Place I’d Rather Be

9.6/10

No Place I’d Rather Be is available via:

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

GENRES:

Reggae; Pop; Alternative

ORIGIN:

Florida, U.S.A.

RELEASE DATE:

13th October, 2017

The album, The View from the Outside, is available via:

https://open.spotify.com/album/1ZUi48Ss5kFMjUnik0WfZO

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THERE are a lot of questions on my mind...

PHOTO CREDIT: Matthew Stocke

I need answers for. I have been looking around the world of music and am looking/yearning for something to direct me. In terms of jobs; I am seeking something music-based that will allow me the chance to get into London. Until I get there; I am hunting around for new artists to review; sounds that are different and I have not encountered before. The Ries Brothers are not what I would traditionally look at – their sounds are a departure from the type of act I normally investigate. I am a bit late to their music. I was meant to review them last year but, because of the wait and list of artists before them; it has been pushed back to now. That does not really matter. The music they are putting out is fresh and relevant – regardless of when you come to look at it. I want to talk about a track from the brothers but, before then, I will look Florida and music from outside the big areas of the U.S. I will come to look at music whose messages look at self-comfort and finding hope out in the world; young and talented artists who are prodigious and already gained acclaim and incredible gigs – despite them being fairly new (a few years or so) in their career. I will also look at artists who play awesome gigs and get their name beyond their local area; where The Ries Brothers go from here; how they will progress this year – variety and sonic range on an album. It has been a while since I have looked at an artist from outside of Florida. It is hard to depart from areas like L.A. and New York. I have become too involved with those parts of the U.S., and so, I wonder what is available in other regions. One might think of Florida and struggle to name many artists from there. Rob Thomas (of Matchbox Twenty) is from Florida but there are some great upcoming acts that are worth a look.

PHOTO CREDIT: Matthew Stocke

Ecostrike and Pull the Plug are two new artists from the state that are getting people talking and showing promise. The latter has the odd demo here and there but it seems this year will be a bigger one for them – as they look to get into the studio and make their Hardcore music a reality. That genre has a lot of competitors in Florida. Put It Aside and Final Say are other acts to watch: their blistering live sets and original take on Hardcore means they will have a very busy year. It is amazing seeing all the great Rock and Hardcore coming through. Florida has a healthy Blues scene and there are terrific Pop artists emerging. Orlando is producing artists like Tiger Fawn, Chandler Strang and Fiona. There is the Laney Jones & the Spirits and Sales; Panther Camp and The Pauses. Jacksonville, where The Ries Brothers hail, has seen some fantastic artists emerge from the area. Lynyrd Skynyrd and Shinedown are from there; Burn Season and Evergreen Terrace; Limp Bizkit and Yellowcard. It is a varied list of artists but it seems the heavier side of the dial is favoured in Florida. There are artists playing every genres but the folk of the state favour things a bit sweatier and harder. The Ries Brothers have a great Rock sound but they are capable of performing softer and more rounded music; colourful and varied sounds – ranging from Folk/Pop meltings and something funky. I will talk about their exposure to bigger stages and other states but it seems the Florida duo are continuing the fine legacy of the state. They have performed a lot of local gigs; played with some like-minded acts; learnt a lot from the music around them. Maybe Florida is not as bustling and productive as California or New York: it does have some incredible artists who are going to get into the international consciousness years from now. The Ries Brothers are among them, for sure. They have come a long way and made changes as they have grown more popular. I feel they will come out of the state before long – not before they play a lot more gigs and show the state why they are such an incredible proposition.

PHOTO CREDIT: Matthew Stocke

I will come back Florida in the conclusion but, before then, I wanted to have a look at The Ries Brothers’ music and why it departs from what I assumed. They are a young duo who, one feels, would play Pop music or something commercial. Their sounds are alluring and complex but there is simplicity and accessibility that means every listener will get something from them. On View from the Outside; the boys talk about isolation and feeling overwhelmed. They want to look at struggle and finding a place in the world. Regardless of what is happening, how talented you are and how far along you are in life – we all struggle with issues of sadness and fitting in. The boys are very young – Kevin Jordan is still a teen – and the guys are looking at their lives and seeing the darker sides come through. They are a successful act; but they still experience heartache and struggles. That might sound weird to an outsider – everyone, I think, assumes musicians are happier than most of us – but there are the same issues and problems inherent. It is inspiring listening to music from young writers that look at deeper topics. They could have gone for something cheap and commercial: instead, they have created an album that looks at self-worth and isolation. That does not mean things are dark and relentlessly strained. The music has plenty of freedom and uplift; there are wonderful moments throughout and each song gets into the head. The sounds range from calmed and reflective to something more strident and knuckled. They began playing local shows in Tampa Bay (where they are from) and were playing to a few hundred people. Things have got bigger for them but they still perform around Florida and have not forgotten where they are from. What amazes me about their music is the maturity and depth you get.

One could forgive some cliché love songs and ordinary vibes: the boys ensure every song gets under the skin and they focus on something more meaningful. The music on their L.P. ranges from Reggae-Rock and mainstream Pop to Blues and Folk; they cross into Rock and Alternative territory – all of these movements are natural and assured. Wherever they go; the boys do not lose any focus and authority. If the music skips and steps into different avenues; the themes do not stray far from the meaningful and important. There are suggestions of love and youth in the album but the most important thing is giving the listener something more meaningful. That sense of meaning is lacking from modern music. We are still hearing too many songs of love; songs whose lyrics are predictable and boring. The Ries Brothers are more concerned with connecting with their audience and ensuring they have someone looking after them. They have been through the mill and faced challenges; their worth and place in life have been tested – throughout it all they remain dogged and determined. The indiscriminate nature of ill fortune and luck means we are all vulnerable to it. Their music provides common sense but there is a carapace and comfort to be found. I will move onto a new subject soon – but it is worth noting how different the young duo is to everything out there. The fact they sound so confident and committed must come from the opportunities they have been afforded. Their talent has got them a long way so far. Few artists get to share the stage with such big and important names. One of the most impressive names on the C.V. of The Ries Brothers is CHICAGO.

The music legends shared the stage with The Ries Brothers for two hours. Allman Brothers’ Butch Trucks is another name they have been alongside; REO Speedwagon and even Sly’s The Family Stone have seen their music fuse alongside the Florida duo. They are merely a few names that they can boast about to their family and friends. They have not got ‘lucky’ and been ‘in the right place at the right time’. Their talent and ability have got them that far; the music they are putting out means they have been able to perform with a varied list of musicians. Their album cross-pollinates and covers a number of genres. I feel it is important, for every artist, to show invention and not be confined to a single source. If The Ries Brothers were all about Rock and representing the ‘typical’ Florida sound, then that would mean their chances would be few. They might get a chance to play with a few bigger acts - but the fact they have played with an eclectic assortment of legends means they are doing things most other acts aren’t. You can hear Funk and move in their sounds – which is why that Sly’s Family Stone gig came about – and the CHICAGO gig, I feel, is because the boys are inspired by the band. You can hear elements of the epic U.S. band in their own music. The young lads are contemporary and modern but they look back to the past and some of the artists they grew up on – and the tastes their parents acquired. It can be quite nervous and pressuring having those high-profile gigs under your belt that soon. They have certainly deserved them but many might feel some cracks will come in. I have seen bands who have shared the bill with big bands before. They have relished the chance but, when it comes to subsequent gigs; they fail to match the giddy heights. The initial glory fades and, before long, those bands are playing smaller shows and unable to rekindle that same stature and wonder.

I am not saying this will happen to The Ries Brothers but they have a wonderful opportunity to learn from these gigs and go forward. It is clear the music world is reacting to them; there is a great vibe coming from Florida – few are immune to their brilliant music. I feel there is a chance for the guys to play other stages in the U.S. and the U.K. They have, as I will mention, played New York. That is a state they could really clean up in. I would be interested to see what sort of reception they could accrue if they played The Big Apple or somewhere like L.A. There are some fantastic mainstream artists out there, I think, would benefit from having The Ries Brothers support them. The bands they have already performed with are older and more established. As the duo are current and fresh; maybe a combination of established and new artists would be a good mix – meaning they could reach new audiences and learn something from legends. I am not sure what form that would take but, I guess, the underlining message is for the guys to get their music as far as they can this year. They will play Florida and local areas but, if they want to get it to national ears; their gigs might have to see them travel further afield. Maybe they already have this cemented but I wonder whether Florida, in the long-run, might be the best state for them. The guys, between them, have studies and family in Florida. They will want to stay there for a bit but I feel New York is a better fit for the boys. They can get further chances to share the stage with big names but, in somewhere like N.Y.C., The Ries Brothers can flourish and hone their music.

PHOTO CREDIT: Matthew Stocke

The fact they have played Arlene’s Grocery means they have been in one of the most venues in New York. That is a space the late Jeff Buckley performed in – it was one of his final gigs. It is a modest spot down in Station St. and one of the finest music venues in New York. It has a rich heritage and legacy. So many incredible musicians have performed at the venue through the years. Not only has Jeff Buckley played (and owned) there; a lot of new artists are cutting their teeth there and getting a great reception. The Ries Brothers have already performed at the venues. Not many can claim they have played Arlene’s Grocery! Not only have they played at Arlene’s Grocery but at another legendary New York institution: Iridium. The performance they put in there was lauded by critics and, with Vini ‘Mad Dog’ Lopez in attendance; many people are still talking about it. Lopez is a founding member of the E Street Band – not someone you would ever turn your nose up at. The guys have played some Florida gigs recently but I know those New York dates will be ringing in their ears. There is something alluring about the bigger cities that means musicians are compelled to lust after them for years. New York is somewhere the guys could thrive in. Maybe it will take a little while to get to that point: they are still relatively new and will want to carve up their local scene as much as they can. Even though their alum is two months old; the music from it is still being played on radio and getting them gig requests. I would like to see them push more towards New York because, I feel, that will see them get into the mainstream. They remind me of another insanely talented duo: The Lemon Twigs. Brian and Michael D’Addario make up the duo. There are other musicians as part of their live sets but, what you here on record, is the chops and voices of the brothers.

They have amazed critics with their genre-fusing sounds and utter confidence. They are really young themselves and, on Do Hollywood, showed they are one of the best new acts around. Charlie and Kevin Jordan have the same sort of spread and audacity as The Lemon Twigs. They recorded their album in St. Petersburg, Florida under the watchful eye of Ted Bowne (of Passafire). He guests on No Place I’d Rather Be and helps make the album a huge success. The only exception was Street Lights – that was recorded in Los Angeles by The Jackie Boyz. That track is more Pop-based and is a departure in terms of their sound. It fits into the album but you notice the production differences. The brothers have been writing for over five years and collaborate with a series of musicians on their L.P. It is an arsenal that, I feel, can see them get into the national spotlight before long. Maybe they can get a shot if they are in Florida: moving to one of the bigger cities would get them where they need to be earlier. L.A. is another option they could explore. Neon Signs’ Jazz sounds; Road Map’s look at growing up and transcending from childhood is an emotional number – they could thrive in the bustle and incredible scene of L.A. I feel they are stronger than most of their local peers. Many of them are too limited and keen to uphold the great Rock/Hardcore sound of the state. The Ries Brothers can do anything they set out to do. This year should be the moment they grab that chance and go as far as they can. With a successful and popular album out there; there will be international ears that want to discover their sounds. I will look at where they might head but, before then, a look at a song I was compelled to write about: the incredible single, No Place I’d Rather Be.

Among the thirteen tracks on View from the Outside is the wonderful No Place I’d Rather Be. It is a song that features the talents of Ted Bowne – although, it is the voices and input from The Ries Brothers than stands out. The song starts with pops and island-vibes. It is a tropical-sounding song that has that Reggae vibe and laid-back attitude. You get the modern production polish but, unlike most mainstream songs; there is not that endless repetitiveness and hollow sound. The sounds build and the mood is crafted and chiselled. The guys ensure the song grows and lets the listener imagine and wonder. You hear the opening notes and are relaxed but intrigued. It is a bright and physical start that gets the eyes bright and the voice ready. Before you slump into the beach-side hammock with a rum in hand – not a cliché view is it?! – you are seduced by the bliss and cool that comes from the guys. Using electronics, simple beats and guitars – one experiences that colourful wash and warm ocean. Your mind is definitely on a beach and, to me, the song puts me in mind of the fading light. Maybe the sun is going down and people are starting to head out for the night. The sun is still hot but the beauty of the night begins to draw in. This all swirls around the brain and, with that force and beauty in the bones; it is hard, for me, not to think of something more sexual and sensual. One’s inhibitions are lost and the mind does wonder. When the vocal kicks in; the sound matches the composition. It is a high-pitched cool-as-hell performance that is soulful and smooth. Our hero is in the van and hitting the road. It seems the need to encounter a fresh destination is on his mind. Maybe me abandonment of love and sex is a little hasty. The drumming hero lets his voice swoon and implore.

He is thinking of a girl and a way of escaping the day. He wants to get away with her and succumb to the moment. I know the song is about, to an extent, isolation and feeling alone but, when you consider the lyrics being laid down; I could not help but imagine two lovers escaping somewhere private. Given the Reggae kick and sunshine-spice of the composition; the vocal is impossibly chocolate-rich and sensualised. No Place I’d Rather Be impresses because it is not trying to follow the huge songs of the mainstream. Rather than go in with phat beats and over-polished production; aimless choruses and something cheap and tacky – the guys take time to create a song that has genuine heart and quality. The beats are a mixed of processed and natural. That combination works wonderfully; the guys throw in electronic sounds and a few piano notes. The song flows constantly and is a sumptuous, rich affair that gets the body winding and grooving. Bowne enters the fray with his vocal – adding a genuine Reggae soul and captivating touch. “We can take a slow ride/in the sunshine” he attests. His vocal is faster and more freewheelin’ than our Florida hero. Instead, against the slowed-down and lover-boy soulfulness sound; here is a vocal that adds urgency and rush. Ted Bowne has many years’ experience and uses all his skills on the track. He fits into the ranks naturally and ensures The Ries Brothers’ single has enough zest and physicality. They are in no small danger of sexuality and oomph. You get that leaking from the speakers and emanating from every note. It is a wonderful brew of smoothness and intent. Our boy wants to release his pains and get involved with the girl. He wants her to himself but it is not only about sex. The hero wants to be happy and find solace with his girl. The song’s chorus brings the sunshine and gets right into the head. It is impossible to ignore it and deny its powers. I was gripped from the first time I heard it: by the n-th time around; I was drugged and hooked for life! No Place I’d Rather Be is a stunning song from the Florida brothers – a standout cut from their album, View from the Outside.

There is a lot to recommend about the Florida duo. I have had the review request in my diary for a while but, with things getting in the way; the chance to fulfil it only came about today. I am glad I have arrived at their feet: they are one of the best new U.S. acts I have encountered. The multi-genre, pioneering music is getting them a lot of love in Florida. I feel the national market calls and, beyond that, they could come to the U.K. I think they would do well here and get a lot of gigs. Their album is already out there but that does not mean they need to wait until the next release before coming out here. They will, I assume, release more singles from the record, and so, that gives them the chance to play them here. We could feature them on our radio stations and get them to the media. I am not sure what their plans are but they might want to think about that in the future. I am impressed by their music and know they are working really hard to get it out there. The only suggestions I would make regard their photos and worldwide ambitions. They are covering a large state (Florida) but, as they grow and broaden their horizons; other parts of the U.S. will a better fit for them. I know they are thinking ahead but I wonder whether they will consider a trip here. I know money and demand will limit what they can do – but getting their music to the press here will create that demand. I am excited to see how far they can go and which U.K. venues they can play. It is all good right now. Another way they can get their names out there is getting their faces out there. There are a few press photos included – I have grabbed a few others from their Facebook – but I would like to see a lot more from them. More professional shoots would give them a better chance of getting featured. It does not need to be anything extravagant and bold: a few local shots that are good-quality and varied would entice writers and win new fans. They have a lot of photos but most of them are live snaps – they are not great quality and not the kind of shots journalists want to use. It is a small thing but something a lot of musicians are overlooking. I know they will rectify this but, in reality, their music is strong enough to see them succeed. View from the Outside is a wonderful album; No Place I’d Rather Be a strong and compelling single. As this year warms up and gets underway; I expect the Florida natives to…

MAKE a gigantic impact!

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PHOTO CREDIT: Matthew Stocke

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