FEATURE: From the Rubble to the Ritz: The Reasons Why Whatever People Say I Am, That's What I'm Not Remains Unmatched

FEATURE:

 

From the Rubble to the Ritz

 PHOTO CREDIT: Getty Images

The Reasons Why Whatever People Say I Am, That's What I'm Not Remains Unmatched

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I am five days late for its twelfth birthday but…

IN THIS PHOTO: Arctic Monkeys/PHOTO CREDIT: Getty Images

whilst the balloons and cake have been cleared away; I have brought a late gift in the form of a personal dedication. It might sound a bit cheap and lazy not bringing something kick-ass and cool to a party – I feel the human and less commercial approach is more original. When thinking about Whatever People Say I Am, That's What I'm Not turning twelve; my mind can’t help thinking what its birthday would actually be like. There would be cans of beer and spray cans; baseball bats and bags of weed – some bricks in a backpack and plans of late-night high-jinx. 2006, when Arctic Monkeys’ debut was launched; it was an odd time for music. There were some great Rock albums released that year – including Muse’s epic Black Holes and Revelations – but the best albums that year were defined by a sense of bombast and commercialism. The previous year, which I shall look at in greater depth next week, gave us quality records from The White Stripes, Bloc Party and Gorillaz. Aside from Lily Allen’s Alright, Still and Joanna Newsom’s Ys – there weren’t that many standout albums that went against the mainstream grain. Maybe The Flaming Lips’ At War with the Mystics provided something a bit special and dangerous, I guess. My point is, after the eclectic and busy 2005; there were few out there expecting a young and untested Yorkshire band to take on the elite.

PHOTO CREDIT: Getty Images

No other band in 2006 crafted such an immediate and instant classic. There are a couple of reasons – besides me being a bit late – why I wanted to commemorate Arctic Monkeys’ debut. For one, it is twelve and has, in all that time, only grown in stature and meaning. Some could argue the likes of Arctic Monkeys were creating their version of Up the Bracket (The Libertines’ 2002 debut) and Is This It (2001 debut from the New York band). Those groups crafted something that represented modern life for the young. It was not the fake and plastic utterings of a mainstream puppet; it was more sincere and naked than anything you’d hear (tamely) dribbling from the speakers. The reason I have transposed the title of a Whatever People Say I Am, That's What I'm Not song – From the Ritz to the Rubble – is the way the band were elevated from local heroes status to modern kings. We are at a point where people are crying out for a working-class set of anthems like the Arctic Monkeys’ debut. We have a few bands who might make a charge this year:  Shame, IDLES and Cabbage are a triumvirate of bands I keep mentioning. They are all honest and hard-working groups who refute the lure and tack of the mainstream...

IN THIS PHOTO: IDLES/PHOTO CREDIT: Ania Shrimpton

I am sure they will craft year-defining records (in 2018) but I wonder, deep in my heart, whether any can match the grandeur of Arctic Monkeys?! To my mind; there has been nothing as essential, unexpected and needed as Whatever People Say I Am, That's What I'm Not. Maybe that is because of the poverty of expectation: media eyes are not pinning their hopes on a northern band having too much to say this year. That austerity of compassion is troubling me. Against turbulent financial times – compared with the South – artists in the North are, in my view, more creative, original and intriguing. They are taking more chances and not watching what everyone else is doing. If we are to see a genuine working-class movement take shape soon – it is going to come from the North, that is for sure! The last properly-good album a debut British band made was Whatever People Say I Am, That's What I'm Not. That may seem like a controversial viewpoint – but let us assess the evidence. Take all the bands and artists, since 2006, which have been compared with the Sheffield band - every guitar-based Alternative act who has an ounce of social common sense is compared to them. Many have tried to recapture the spark and genius of that album: none have matched those giddy heights!

The album, conceptually, concerns the lives of northern clubbers. It is a window into what many (in the North) might have seen on an average Friday night back then – it might still well be! Away from the banal bands talking about love and their loserdom lives: Arctic Monkeys arrived with a compelling set of songs that mixed awkward dancers and wannabe Romeo and Juliets (I Bet You Look Good on the Dancefloor) to coked-up anti-heroes in Fake Tales of San Francisco (“And all the weekend Rockstars are in the toilets/Practicing their lines”) – it is a rare insight into a world many of us do not know. It is not a shock to see so many bands try to provide their own interpretation of Arctic Monkeys’ debut album. This is one reason why Whatever People Say I Am, That's What I'm Not continues to resonate: it is evident in the work of all the best new bands. I can hear embers and snatches of Arctic Monkeys in Shame and IDLES. We need to start narrowing the gap between the North and South; ensure there is not the same ignorance towards northern music as there has been in previous years. In 2006, Whatever People Say I Am, That's What I'm Not was a radical and much-needed cocktail of truth. Twelve years on, with the country more split and confused; the record holds a more significant place. Songs on the L.P. look at financial struggle and tenement fights; the young self-destructing and deluded people trying to achieve dreams they know are beyond that. It all sounds gloomy but, when you look at the lyrics (more on that soon); you realise what a work it is.

The reasons why Arctic Monkeys’ debut should be reinvestigated this year is down to its success, reviews and themes. The Sheffield band is teasing suggestions of a sixth album this year – it would arrive five years after their last, AM. I am not sure how the band will adapt to their increased fame and changing lives. They are wealthier and more secure than they were back in 2006. Although their situations have improved; every album that followed Whatever People Say I Am, That's What I'm Not has connected with fans and critics. There are obvious explanations for this consistency. The band, despite their fame, is grounded and who they always were. They do not fully subscribe to the L.A. Rockstar lifestyle: all the drugs, drink and shallow wealth. When their debut arrived; people were blown away by the freshness and quality from a band virtually unknown. Whatever People Say I Am, That's What I'm Not sold 360,000 in its first week and is still the fastest-selling debut by a band. Of the thirteen tracks; there are some from their original E.P., Five Minutes with Arctic Monkeys – alongside their first two singles and U.K. number-ones. It went on to scoop the (2006) Mercury Music Prize and, years down the tracks, appear in the high-positions of journalists ‘Best Rock Albums Ever/of the Decade (the ’00s).

Songs like From the Ritz to the Rubble concern nightclub bouncers. Frontman/songwriter Alex Turner was writing about nightclub-goers and pissed-up drinkers. A Certain Romance scorns local townies; Fake Tales of San Francisco is about delusional types who think they are in California – even though they are in Rotherham! When the Sun Goes Down looks at prostitution whilst Red Light Indicates Doors Are Secured is about the perils of hailing a taxi after pubs close. The songs are without ego but real; they are a transparent viewpoint of youth and life in the North. Artists are not really writing about this kind of lifestyle now – bar the bands I mentioned earlier! – and, even in 2006, Arctic Monkeys were a bolt out of the blue. It is no surprise the album made such an impact and scooped awards. It is even less of a surprise it has collected honours and acclaim years after its release. Not only did Whatever People Say I Am, That's What I'm Not lead to a demand for more albums - but it stands as a stunning work that has inspired countless modern artists. So many bands picked up guitars following that album. Its revelation was a relief and explosion the music world needed! Running alongside all the history and influence is the quality that runs right through Whatever People Say I Am, That's What I'm Not.

PHOTO CREDIT: Getty Images

With Turner on Lead and Rhythm Guitar; Jamie Cook offering similar guitar support (and Backing Vocals); Andy Nicholson on Backing Vocals and Bass (the only album he would feature on) and the always-stunning Matt Helders on percussion – the ultra-talented quartet were destined for acclaim and attention. The songs are compelling and unusual but so tight and focused. There are some ragged edges here and there but, for the for the most part; the band are completely engaged and in-step with one another. One gets all the smells, booze and fights in the music; you experience the physicality and sentient reality of the music through the performance. Lesser bands – and many since then – would pen songs whose knuckles dragged along the ground. In Alex Turner, the band had a Yorkshire Oscar Wilde: a wildly witty observer who could assess humans and deflate egos at the stroke of a pen. Turner’s modern-day Wildean commentaries came with plenty of swagger, quotable lines and narrative fascination. One can chart the album as a night out. You have the arrival and indication of what is to come in View from the Afternoon (“Anticipation has a habit to set you up…” – although, some claim the song refers to the band and their attempt to temper the hype they were getting from critics) and the beautifully rich and well-observed world in Fake Tales of San Francisco. That song, in itself, is a world all of its own.

One follows the Rockstars in the toilets and the girl getting the ‘escape call’ during the pub gig – she has been saved from a sh*t gig – and the general aura of chaos and seriously lowered inhibitions. From Dancing Shoes to Still Take You Home (tracks four and six) there are those looks at lashed-up women and poor judgement (they might be a bit rough and off their tits; still worth a go, mind…). Riot Van is the inevitable conclusion of a lary night: Red Light Indicates Doors Are Secured is the fleeing and pissed club-goers trying to flag a taxi. Mardy Bum and Maybe Vampires Is a Bit Strong But... address love (or versions of) whilst When the Sun Goes Down is the local prostitutes looking for impressionable and willing punters – and the story of a seemingly domesticated woman turning into an anti-superhero when the working day is done. That is what you get with the album: stockings and cheating spouses; real conversations and the humour one finds in northern neighbourhoods. A Certain Romance ends things, and with it, inculpation and exoneration. Turner judges the townies and locals but, strangely, lets them off the hook by the end. That contrast and capriciousness sum the album up. You see the wreckage and waste of drunkenness and wonder whether it is condemnation or acceptance of modern youth. There are figures given a dressing-down but, above all, the band is part of the action. Turner and his cohorts might be the intellectually superior and wiser contemporaries – they are still there and willing to indulge the losers and view from afar. Whatever People Say I Am, That's What I'm Not neither eviscerates nor glamorises: it projects a single night (or series of...) in Yorkshire. The songs are indelible and, every time they are played on the radio (not as often as they should be) one gets heady recollections of 2006. I hope Arctic Monkeys come back with something stunning and fulfilling this year. We need an album that talks about modern Britain. It will not be the same youth-obsessed and drunken L.P. as Whatever People Say I Am, That's What I'm Not, that's for sure!.Whatever the band come up with; I know it will be extraordinary and unbeatable. The fact they have come this far, and are still talked about as one of the world’s best bands is because of…

PHOTO CREDIT: Press

THEIR peerless debut album.

FEATURE: The Wisdom of Crowds: Why Crowdfunding Is Something We Should Not Judge and Scorn

FEATURE:

 

The Wisdom of Crowds

 PHOTO CREDIT: Unsplash

Why Crowdfunding Is Something We Should Not Judge and Scorn

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LATER on today…

PHOTO CREDIT: Unsplash

I am focusing on an album that made a huge impact on music and, in 2018, it is something we need to see more of (in terms of its quality and originality). That album is the debut of Sheffield’s Arctic Monkeys: the majestic, Whatever People Say I Am, That's What I'm Not. The band is returning with new material this year – about time too! – and, I feel, are one of the most durable and important bands we have around. There are other like-minded acts but none like Alex Turner’s crew. What amazes me if the way they have managed to remain relevant and captivate as the years have progressed. A lot of their music deals with youthful indiscretion and folly. That record came out in 2006 and, back then, there was nothing like it on the scene. It was a bit of a gamble releasing an album that year. In a year that saw The Raconteurs (Broken Boy Soldiers) and Muse (Black Holes and Revelations) release material; it would have been easy for critics to overlook the newcomers – favouring the reliable riffs and grit of bigger musicians. Luckily, that album struck and registered. I mention this because, despite its rather urgent and direct sound; it is a complicated and detailed album that might require a bit of additional funding. The lives of Arctic Monkeys has changed since their debut but one wonders, now, if they were recording that record – would they need a leg-up and financing from their fans?!

IN THIS PHOTO: Zach Braff (who is among a number of Hollywood stars who has turned to crowdfunding)/PHOTO CREDIT: Getty Images

I can understand a certain trepidation from artists, on an ethical level: they feel uneasy asking for money; almost like it is ‘begging’. This piece has been compelled by She Makes War. She is currently in the midst of her own crowdfunding endeavour (she might have completed it by the time I get to the bottom of the page...). You can contribute towards the Bristol-based musician’s next record - and check out all the rewards on offer. What affected me – regarding her piece – is how angered the writing is! It is just as well: some of the accusations levied at artists like her is enough to motivate retaliation and upset. I can understand a modicum of unrest regarding crowd-sourcing. Sites like PledgeMusic and Kickstarter have been going a little while now – the former was established in 2009. The only downsides to these websites (and many like them) are legalities and controversies. Some projects have offered licensing rights and unsubstantiated riches; some have created fake profiles and used the site(s) for nefarious and greedy purposes. It is hard validating and verifying projects: there have been a few where a celebrity’s status has been brought into question. Zach Braff, when he pitched his 2013 film Wish I Was Here, was questioned regarding the need to ask people for money – considering he could amply afford to fund it by himself! Those debates were quelled by an important point: those who fund these larger projects will, in turn, fund smaller ones...

IN THIS PHOTO: The cover for Amanda Palmer's album, Theatre is Evil/PHOTO CREDIT: Getty Images

There is a chain of benevolence that means the average funder will look to assist others. I know, through the years, there have been projects that have raised eyebrows. Some have raised money for films/projects with a liberal agenda; there have been questions regarding political and graphic nature; projects and pitches that could be seen as controversial and divisive. There have been relatively few pitches that have been outright corrupt, fraudulent or greed-driven. The majority of creatives use these platforms in order to assist their process; to get their material to the people. One can claim big film stars do not need to tap the public for money. Not only are they not doing that: it is aimed to get people more involved with the filmmaking process; to divorce the enigma and calculated process of film. By offering something more communitive and involved; it means the funders can see the film’s creative process come to life and reap rewards – the person who pitches an idea on these sites offers backers rewards. Some big musicians have used crowdfunding to make their dreams come true. Amanda Palmer split with her label before recording Theatre Is Evil. It was an album received with positive reviews: the only reason it came to light was down to fans and funders. She raised $1.2 million - and ensured her fans were involved in every step of the process.

IMAGE CREDIT: Getty Images

De La Soul turned to crowdfunding for their ninth album, ...and the Anonymous Nobody. They separated from a major label – claiming they infringe on the creative process – and, within a month of their pitch; they raised over $600,000. That is another reason crowdfunding is important: artists, big or small fish, can gain independence from labels and ensure they control the creative process. There is a reverse-logic for new artists: they do not have lucrative contracts and have full creative control. Despite the best-meaning dreams and strongest material; it can be hard finding the money to fund a record. There are some who say those who have a label should count themselves lucky and be happy with it! The label is a way of getting music spread further and having support, it is said. That is not to say (the label) will let the artist do what they want and not interfere: too often, artists find their label becoming too involved and demanding. It is not a cheat to go to crowdfunding sites and establishing some creative control. For newer artists, mind, you have to ask that question: why go through that process?! It can be hard, having those ambitions, and finding your project is under-funded. These pitches are only funded when all the money is raised – some sites do not operate like that – so it can be hard to hit the target sometimes.

PHOTO CREDIT: Unsplash

I pitched an idea once (not the best thought-out) where a group of musicians would cover Elbow’s One Day Like This. It would be filmed in London and it would, essentially, be a one-off music video. Even for something like that, fairly easy to plot and realise…it can be tricky. There is an assumption musicians have loads of money to burn and crowdfund so they have more money for beer. There are, sure, some artists who have a bit of money but want to get away from the label’s grabbing hands. For many people it is about being able to fund a song/album: many do it so they can involve their fans in the process. Music is about recording songs and putting them into the digital ocean. There are various steps in-between but, at any stage, do you really give followers a chance to get involved with the music itself?! Artists put social media updates out – but there is never a sense you are connecting with an artist that much. A lot of crowdfunding projects have physical rewards. Backers can feature in a music video; they might be credited on an album’s sleeve – big backers might get to spend a day in the recording studio.

PHOTO CREDIT: Unsplash

Depending on your target; you are never really asking that much of any artist! I have backed a lot of projects and, in most cases; it is never more than a tenner. Those who criticise crowdfunding labour under the assumption innocent members of the public are being gouged. That is strictly not true. The stress and burden is never on the backer: the responsibility and hard work falls with the artist. THEY are the ones who need to get the word out and promote their stuff. It is a relentless and tough process where you are always keeping one eye on the counter – seeing if the numbers are going up; how far away you are from the target. An artist puts their heart into the project and always hopes to reach the target. The sheer relief at hitting that target – check She Makes War's social media... – lets you know how much it means! In a lot of cases; it can be a Bond-esque race to detonate a bomb: hitting the fund target a day or so before the deadline! It is not a case of the musician watching the pennies roll in and not doing any graft. I shall come to the most obvious reason why crowdfunding is good but, before then; I want to bring an article in:

“The costs of making music have come down drastically as well, and independent albums today sound better than many major label efforts of the 80's and 90's. Quality still isn't cheap though, and the costs of manufacturing and publicizing a release still put a truly professional campaign out of the reach of many indie artists. We do have access to one incredible resource however: our fans!

 PHOTO CREDIT: Unsplash

Crowdfunding has become an important tool in the arsenal of many indie artists, and it’s a strategy that has helped level the playing field for artists who don’t have label money propping them up. I’ve had a lot of success on a variety of platforms, and I wanted to pass along some of what I’ve learned. Buckle up!...

My most recent crowdfunded project was done through PledgeMusic. There are a lot of similarities between PledgeMusic and Kickstarter, but there are also a few big fundamental differences.

Like Kickstarter, PledgeMusic makes you pick a goal amount, and expects you to reach that goal or refund the money. PledgeMusic is WAY more hands-on right from the start, though: they assign you a project manager, take stock of your band as a business (by looking at your social media stats and your level of fan engagement, as well as other metrics they don’t publish) and they try to help you set a realistic goal that they’re confident you can attain. Goals on PledgeMusic tend to be much more honest than on Kickstarter. This hurts their reputation a little bit when artists are comparing the two platforms, because Kickstarter artists SEEM to make a lot more money (since they regularly hit 200% or 300% of their artificially modest “goal”)”.

There are two things that come out of that case study: depending on which platform you use; there can be drawbacks and risks. It seems PledgeMusic is a better platform for musicians, at least.

PHOTO CREDIT: Unsplash

That hands-on approach and lack of risk – not having to refund money – means it is the go-to choice. The other point might mislead: the fact music is a lot cheaper than it was. That is true but, if you think about it; how many unsigned artists did you hear during that decade?! I don’t know about you but my musical tastes (from that time) are chart acts and those who were signed. It is true you can make a song/album a lot less expensively than back in the 1990s. Most of the artists around in that decade had a label and did not have to struggle the same way as modern artists. There is a lot more competition today and, as people spend more time working and less time socialising – happiness levels are decreasing. That is why people go to crowdfunding wells: financial aid. It seems like, on paper, the costs of recording an album are dropping. You can put together a record on your laptop and produce a dozen songs for as little as a couple of hundred quid – or less in many cases. You can then do all your promotion and digitally release it without breaking the bank. Most artists, mind, use instruments and have greater ambition.

IN THIS IMAGE: She Makes War (Laura Kidd)/IMAGE CREDIT: She Makes War

They want to ensure they stand out from their peers so use better microphones and spaces; take more time and employ more components. Songs are bigger and, in order to entice more fans; they release material onto C.D., vinyl and cassette. Look at She Makes War’s article in order to get an idea of costs and the breakdown of an album. She has recruited eight-hundred-and-fifty-eight backers (at the time of this piece) and is right at her target – she will probably hit her goal before this goes live. It has not been a smooth and easy ride for her. The album, She Makes 4, is practically funded but, before rounding off; a few thoughts from She Makes War herself – regarding the reason she is crowdfunding:

“Why? Because making high quality albums, even in these playing field levelled times of DIY digital recording, is expensive. Really expensive…nice-second-hand-car up to deposit-for-a-house expensive – and as a solo artist it’s down to me to pay for all of it. I don’t know any independent musician who doesn’t rely on the income from their merch sales to pay or part-pay for their living expenses, and I don’t know anyone who has between £5-£15K hanging about in their bank account.

 Yes, we could all make albums ourselves on laptops (and that’s how I write and demo my music without the need to pay for anyone else’s time) but I have no real desire to become a truly brilliant engineer or mixer, and I want my albums to sound as massive and incredible and wonderful and magical as they possibly can. I’ve always wanted to produce material of the quality you’d expect to be released by a respectable indie label, whether or not I ended up with the backing of one (and I’d love the backing of one).

While musicians are expected to do a lot of things for free/promo opportunities, recording studios, engineers, mixers, CD/vinyl/cassette printing companies and the Royal Mail all understand that exposure is something mountain climbers die from and charge accordingly. Every aspect of making music costs money, so in order to release music of the quality I want, I have to find the money somewhere”

A good point is made: austerity is terrible in the North - which means it is ethically hard asking some for money they cannot afford (She Makes War is in Bristol and struggles like everyone else). Given rent prices in London; many artists are unable to afford to live AND record music! I find myself in a position where I have to live at home and, despite a full-time job; I am unable to make a full move to London. The only reason I can keep my blog going is because I do not have to fund it.

IN THIS PHOTO: She Makes War/PHOTO CREDIT: Getty Images/Artist

I want to interview artists and do more videos but the cost of that is the cost: travelling around and getting the equipment is too much of a burden. Musicians have the same trials and struggles. Many have to work a full-time job (or two) and are seeing stress and anxiety levels go up. The demand and competition in the industry mean artists are spending time on social media; they are boiling everything down to numbers – chasing a carrot and stressing themselves into poor health. For artists like She Makes War; there are fewer opportunities and less money available - even less for those who live in northern England. Many of her peers are going through a testing and unhappy time. They want to bring music to the people but the only way to do that, and make it as good as it can be, is through crowdfunding. There are many more compelling argument to back up my point but the facts remain: artists are not doing it to bilk people and take an easy way around. The crowdfunding route connects an artist with their fans and builds closer ties; it means they can expand their horizons and reduce their anxiety levels. At a time where so many musicians are struggling and suffering poor mental-health; we should not begrudge them the opportunity to receive backing from fans. I understand why some artists want to go their own way and self-fund – that is good for them! Those who choose to crowdfund should not be judged or accused. They have very good reasons for doing it; they either face financial difficulties or want independence – and that need to connect more readily with their followers. In the case of many musicians – including She Makes War – it is a wonderful and enriching way to make their dreams…

PHOTO CREDIT: Unsplash

COME true (...and She Makes War has just hit her funding target!).

INTERVIEW: Carla J. Easton

INTERVIEW:

 Carla J. Easton

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THIS ranks alongside the most fulsome interviews…

I have ever conducted - Carla J. Easton provided deep and thoughtful answers to each question I asked her! We talked about her musical upbringing and the background to Lights in the Dark. She discussed the song and how she will follow it up; whether there are any gigs pencilled in the diary; how important her family are regarding her music tastes; performing with TeenCanteen – and what it was like recording in Vancouver.

I discovered the albums and artists who have shaped her and was told some wonderful stories and memories; learned about a few new artists worth checking out; discovered whether she gets to kick back away from music – and what this week has been like for her!

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

I'm great, thanks.

The last week has been fantastic as all my friends from Canada arrived and we hit rehearsals immediately - amidst catching up with each other. I’ve has radio sessions and (been) launching the Lights in the Dark Tour.

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

My name is Carla J. Easton and I have been writing and performing music since 2004. This started with the band, Futuristic Retro Champions (I wrote the songs and played synth), before moving onto TeenCanteen in 2012 - just after finishing my Masters of Fine Art at Glasgow School of Art. TeenCanteen was the first time I started singing what I was writing - and we released our debut album in 2016.

That year; I also brought out a solo album under the alias ‘Ette’. Now…I'm just me!

Lights in the Dark is your new single. What is the story behind it? 

I wrote Lights in the Dark during the inaugural singer-songwriter, two-week residency at the Banff Centre for Arts and Creativity in March 2017. It was the first of four songs I would write during my time there. I had a studio with a grand piano in it and windows that looked out onto snowy mountains and forests. It gave me a lot of time to reflect and focus. Lights' is part of a larger story thread - what has, now, become an album's worth of fully-recorded songs delving into lucid dreaming vs. the mundanity of reality (and the blur between the two).

Ultimately, this song is about the little things that count that you lose - and the little things that happen in daily life that point out to something being wrong.

It was recorded at Hotel2Tango in Montreal. How did you find the experience? Do you split your time between Canada and Glasgow? 

When I returned from the songwriting residency at Banff; I made some big changes to my life. I had Don Henry's words ringing in my ears after a session with him where I played him some of my new material. He said: “You have to make more time to write” and he explained to me that I was maybe missing out on writing, what could be, some of my best work because my lifestyle didn't allow me the time to focus...

So; I got back to Scotland and moved back to my family home to live with my mum. She let me set up a home-studio – which, was, basically, my old upright piano that I've had since I was ten (which I got tuned!); a Korg MiniPops drum machine; a Roland-Juno Di and a Casio MT-45 - and I (just) wrote and wrote and wrote. I had GarageBand on my iPad and I just demoed up everything. I'd be up until all hours getting everything recorded. The more I did this, the easier it became and, all of a sudden, I was writing about two or three songs a week.

The entire time; I had kept in contact with Howard (who I'd met on the residency) as well as with my new friends I had made there – Jesse Aaron Shire, Brett Nelson and Kev Corbett. I'd send them these demos. The album started at La Chunky in Glasgow with my very good friends, Ronan Breslin and Coliln McGeoch, who have been nothing but supportive of the work I do since the very early days of Futuristic Retro Champions. I started Pro Tools sessions with them - to then take over to Montreal and build on with my band and Howard.

What's now remarkable is that a lot of the guide vocals recorded at La Chunky have ended up being the ones used in the final mixes for the album! I really love how this is a collection of work recorded between Scotland and Canada.

Recording at Hotel2Tango in Montreal is one of the most fun experiences I have ever had in a studio - and the most intense. Ten ten-hour days in a row with live tracking then overdubs, choir singing; tubular bells, trumpets; strings and sitar. None of the songs had been rehearsed together as a band. Howard said: “Let's just set up and hit record and make a record that captures the moment it all clicks”. We all went with our gut instinct on a lot of songs, as a result. I like going into a studio this way: I'd say I thrive on it! You don't have time to overthink anything and you aren't attached to anything going in.

Plus; when you get the chance to listen back, it's so exciting to hear what you have just created – it's incredible to listen to something that didn't exist thirty-minutes previously.

With that in mind; what are the main differences in the music scenes of, say, Glasgow and Montreal? 

It's hard to say!

Most of my time in Montreal was spent in the recording studio. Prior to starting the sessions, I was invited to play at Pop Montreal - which is similar to The Great Escape, though it seemed more relaxed and less of an industry event. There were so many bands playing and gigs happening - the city was positively buzzing with late-night melodies.

Montreal is an incredible city - and I feel lucky to have spent time there while the album was being made.

The remainder of your upcoming album was also recorded there. Can you reveal the subjects and inspirations that go into the record? 

Loosely; it's realisation and escapism: lucid dreaming and introspection with storytelling at its core. Howard and I talked a lot about George Harrison and All Things Must Pass during the recording sessions. I think that record and Phil Spector's Wall of Sound were always going to be huge factors in terms of sound - but translating into something new. All the musicians who recorded with me are also solo singer-songwriters in their own right so, bringing together all these different musical backgrounds and genres was always going to result in something that encompassed many different sounds - while maintaining a strong Pop feel with the synth. bang in the middle of it all.

You have recorded one album with TeenCanteen - one solo album as Ette. How do you feel, since then, you have progressed as a songwriter? 

I'd hope I'm getting stronger and better as I'd never wanted to plateau as an artist. I'm enjoying playing about with song structure at the moment and writing without worrying about what part is a verse or what part is a chorus. I think that comes from reading poetry and attending poetry readings: thinking more about the flow of words and a song as a whole, rather than in sections. Though I know this has proved annoying for the people recording with me; when they say “Can we jump to the chorus” and I don't know what the chorus is - and everyone has a different take on what part the chorus is! Sonically, I feel like the album at Hotel2Tango is the album I have been hoping to realise for a long time. I think about arrangements a lot more when I'm writing now.

I know where a brass or string melody will go and that that will make up a large part of the final recording - so it becomes part of the songwriting. I'm not sure if that means I'm dipping my toe into co-producing or not!

Tell me about the music you were raised on. Did you have quite eclectic tastes as a youngster? 

Very much so…and I could talk about music all day long! My eldest brother is ten years older than me; so I listened to what he was listening to. This meant that, at the age of five - when he was fifteen -, I was listening to Teenage Fanclub, BMX Bandits; The Stone Roses and The Lemonheads. The Lemonheads’ cover of Mrs. Robinson was the first 7'' record I owned. I remember the significance of Oasis bursting onto the scene as my brother was obsessed with them. There were always NME and Melody Maker’s lying about the house - and I would religiously read them and then ask my brother to buy me singles or albums based on the reviews in them. I had a huge poster of Tim Burgess on my bedroom wall by the time I was ten - facing a similar-sized poster of Bob Marley. I've always loved music. I equally adore Kylie Minogue and The Polyphonic Spree.

I think it's best not to be genre specific and dip your toe in everything.

In addition to writing a song for Belle and Sebastian’s E.P., How to Solve Our Human Problems; you are due to play on Marc Riley’s show. Do you have any other ambitions and big plans for the future? 

We'll finish the Lights in the Dark Tour and, then, I have a couple of shows in April and another single release around then. I'm at my happiest writing and recording - so I hope to continue with that this year.

Who are the new artists you recommend we check out? 

Pocket Knife, Jared Celosse and West Princes.

IN THIS PHOTO: Jared Celosse

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

All Things Must Pass – George Harrison

I used to get home from school and switch on the T.V. and watch music channels. We had Sky hooked up to a small box-T.V. in my brother’s room - which also doubled as a den for people to hang out in. I saw the VH1 documentary on the re-release of All Things Must Pass. I was fifteen at the time. I asked my brother to pick me up a copy of it when he was in Glasgow on his way home from work and bring it home to me in Carluke. He'd always do that if I asked him too. I remember the first time I stuck on C.D. two with the opening title-track. I was standing on my bed right up next to my speakers. My room was yellow and the sun was pouring in through the windows - and the opening chords and rhythm of All Things Must Pass Started. (“Sunshine doesn't last all morning...”). My dad had just passed away and George taught me how to deal with that.

I will always think of that record as a friend that got me through some difficult times. I love listening to it now as an adult and feeling like I'm home.

Tapestry – Carole King

My eldest brother is ten years older than me – and he is a music obsessive. When he passed his driving test; he used to make mixtapes and tell me to grab my sunglasses. We would go for a drive around the Clyde Valley listening to the compilations he had made. It was one of my favourite things to do from the age of eight onwards. One day, we were driving around with the stereo volume turned way up and the opening piano riff of I Feel the Earth Move started blasting out the speakers. It was the first time I had heard a piano so up-front in the mix. When Carole started singing; I couldn't believe what I was hearing. I think I must have been about fourteen at the time. It was also the first time I had heard a woman's voice sing that way. It was soulful and scratchy and wasn't perfect like the vocal performances I had been exposed to on Pop records of the time.

(I made a mental note).

My brother had the biggest C.D. and record collection ever. It was all carefully catalogued and alphabetised. He always told me not to go near it when he wasn't in! I never listened to him and would snoop around looking for things when I got in from school and he was still working in Glasgow (he didn't move out till he was twenty-seven!). That's when I found Tapestry and I think it changed my life in ways I'll never know. I'd been having piano lessons since the age of eight. Listening to Tapestry made me want to start and bash out melodies on my upright and sing along. Carole's voice made me want to sing along with her.

The Cookies – The Cookies

A lot of people (always) assume that all I listen to is girl-groups - which isn't true at all! I love and am fascinated by the genre and own a lot of records by them…but this stems from a wider interest in understanding their often-overlooked role in the history of popular music. The first girl-group record I got was a greatest hits compilation by a group I had never heard of before called The Cookies. I was twenty-one and living in Edinburgh at the time.

My favourite record shop was and still is Backbeat Records in Newington. It is jam-packed full of vinyl - it's so full you have to leave your bag and coat at the door just so you can get in the place. I had been visiting regularly to buy Northern Soul records and had struck up a friendship with the owner. There was a room in the back that he used to call ‘The Soul Kitch’ - as the shop was a converted old flat. He'd put a box in there and stick records in it - he thought I would like them. One day; The Cookies were peering up at me…so I bought it.

I got home and stuck it on my record player and Earl-Jean MacRae arrived into my life with a voice like an iron fist in a velvet glove - and that was me absolutely hooked. Who was she? Who were the group? Were there more out there? The swagger to the song Don't Say Nothing Bad About My Baby was incredible; the songwriting outstanding - but then it would be: it was Goffin and King

That's how I got hooked on girl-groups.

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

Wed 31st Jan: Manchester at The Castle

Fri 2nd Feb: London at the Sebright Arms

Wed 4th April: Glasgow at Nice and Sleazy's

Wed 11th (April): Edinburgh at Sneaky Pete's

You perform with a Canadian band. How exciting is it getting on stage with them and putting your songs to the people? 

Sadly; I won't always be performing with my Canadian band - which is why it has been so wonderful to have them over for the release of the first single we recorded together. It means a lot to me that the first time people will hear these songs played live is with the musicians who helped me shape and create it.

Do you get to kick-back and detach from music much – is so; how do you spend your spare time? 

I read a lot: especially poetry books and philosophy. I like to have a stack by my bed to dip in and out of. Sometimes, I draw. I actually hate being idle. It really freaks me out if I find myself with nothing to do. Outside of music; I've been working on a documentary with Blair Young for about eighteen months now - and I've been continuing to write and record with Stephen Watkins, too. I'd say solo album number-three is halfway done…before solo album number-two has even been released!

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).

Always SO HARD to do this!

Right now, how about the Lambchop cover of Prince's When You Were Mine. It's absolutely tremendous!

________

Follow Carla J. Easton

 Official:

http://www.carlajennifereaston.com/

Twitter:

https://twitter.com/CarlaJEaston

Facebook:

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TRACK REVIEW: Aisha Badru - Bridges

TRACK REVIEW:

 

Aisha Badru

Bridges

9.3/10

Bridges is available via:

https://www.youtube.com/watch?v=D6i_yBPvDgg

GENRES:

Alternative; Folk; Singer-Songwriter

ORIGIN:

New York, U.S.A.

RELEASE DATE:

October 2017

5th December, 2017 (Video)

_________

THERE are similarities between my review subject…

of yesterday and today’s inclusion, Aisha Badru. I will return to New York – taking a different angle on the state – and look at the realities for young artists; what opportunities there out there for someone with a unique air. I will move on to looking at music that soothes and have a plaintive edge – imbued with soul and heart. Then, a peek at songs that address those relationships that have obstacles in there – even if they appear perfect and secure. I will move on to philanthropic artists and those who go out their way to help others; a bit about personal needs in regards music – and finish looking at possible icons and why we need to encourage certain artists. Mind on Fire, a previous track from Badru, hooked me in and has led me to her current track – the beautiful and heartfelt, Bridges. I looked at New York when addressing Rivita yesterday. She has moved there and is studying. It is the first time for her there and a real experience. She has relocated from London and is now in a state that is expansive and scary. It is a wonderful place to be and somewhere many young artists are moving to. What excites me about New York is the sheer choice. I noted, in the review yesterday: there is a wide and expansive geography in the state. It is not all rush and hectic move. New York is like any other state out there: you get calm and peace away from something more built-up. Rivita, to me, seemed to embrace the most alive and frantic nature of New York. Her music had that urgency and, whilst looking at bad love; it was a busy and bold track that drew me right into where she is. Aisha Badru occupies the same state. She has penned a song that is more romantic and alluring. It seems to take the listener to a scenic and picturesque situation – a place where you can unwind and get away from the bustle.

Bridges has plenty of emotion and pain at heart but, in terms of sounds, it is an engaging and exciting track. There is so much working away at the core. When I first heard it; my mind and body were moved and I was determined to learn more about Badru. It seems like she has embraced New York and tackled it from a new angle. That is what we think about when it comes to New York: it is all smoke, rude bodies and noise. That is deeply unfair. In musical terms; some of the finest artists are playing there. I feel New York has advantages over London. Its five boroughs are very different and one can notice huge differences between, say, Staten Island and Brooklyn. It is an exciting part of the world and one that will produce legends of the future. Badru is one of the most engaging and creative artists I have heard. It makes me want to look deeper into New York and investigate the complexities of the scene. Before I move on, and look at a new side; I wanted to recommend Badru pushes her social media more. Right now, her numbers are good but they could be bigger. There are few images available online – a conflict and problem that almost made me avoid review – and there is little information available to the casual observer. Her official website is impressive but, again, there is not much in the way of photos. In an area teeming and competitive; she has a sound that deserves lots of respect and success. That will come but a way of fast-tracking that is to get more of herself out there. She has a few great snaps but, right now, there is not too much to go on. Maybe it is a case of hiring a photographer for a day in N.Y.C. They could set Badru in a few locations and take, maybe, a dozen shots. That would be more attractive to the observer and would not rely on a new single – a lot of artists coordinate new shoots with a single. That is one of the things I object to in modern music. It is always wise having photos and information lined-up regularly. Journalists are looking for choice and information to go on. In terms of her music; there is plenty to write about – it would be good to accompany that with visual aids.

I will move on now but, as I feature more female artists for review, it allows me a moment to reflect on young female artists. I know there are struggles for every musician in the world but the female artist has a much tougher time. Music is a big, bad wolf and can chew people up. I feel there are too many obstacles for young artists at the moment. It is hard getting your voice heard and, regardless of your quality; artists who are more commercial and radio-ready get ahead quicker. Badru is a stunning artist whose songs get into the mind and make the listener feel better – maybe not ‘better’ but more enriched, at least. The industry is sexist, I am afraid. It always has been and will stay that way for a little while longer. Before any real changes are made; I wonder how a young, black American female artist fares in the modern music world. Badru lives in a part of the world ruled by an idiot President; her style – Soul and Folk – is not as mainstream as, say, Pop; she is doing things her own way – all potential drawbacks in the industry. That may seem harsh but music is not perfect: there are a lot of changes that need to happen. Luckily; the New York-based artist is in a state that fosters diversity and equality. Her sounds are incredible and the songs one witness stays with you long after they have finished. I know Aisha Badru’s rise and progression will be a little slower than a similar-minded male artist. I know the industry has a long way to go but, until it catches up with evolution; we must take action ourselves and force change. I listen to someone like Badru and notice she is a lot stronger and more appealing than Ed Sheeran. He is a mainstream artist who is as popular as he is because his music is unchallenging; his personality pretty basic – appealing to those who do not want to think too much or engage with anything real.

Aisha Badru, on the other hand, is a very complicated and alluring artist who challenges the listener and provides something deep. It seems strange she would have to fight harder to get herself seen than an artist whose music is inferior. I guess that is the reality of the modern industry. What I do know is she will succeed and grow in time. It will not be overnight but I know she will get there eventually. It is exciting because I am hearing few musicians like her. There is that Soul/Folk backbone but, riding high, is an original angle that amazes me. On paper, it might seem like she is like any other artist out there. Her songs feature the same subjects (love and life) and there is not anything ground-breaking or paradigm-shifting. That is not her fault: it is near-impossible making anything revolutionary in the current times. I will move on but I wanted to outline the truth about modern music. Badru knows this but, in spite of the challenging view; she is producing music that is meaningful to her and differs from what is out there. That might be a gamble but, when one hears it, it all makes sense. I am going to follow her this year and see how her music progresses. It is the uniqueness of it that bowls me over. Her music, Bridges especially, has that sense of calm but there is power and panache working underneath. It is an amazing song and one that makes the listener reflect and think. There are a lot of songs about love on the market – Badru’s latest track is a very different beast.

The title of Bridges suggests a path to safety and new lands. In actuality; it is about building bridges and making compromises. There are challenges in every relationship: things are never as smooth and flawless as you’d imagine. A lot of artists are approaching love in a very negative and ordinary way. There are so many artists out there right now – finding one whose heart beats a different way is vital. I get annoyed at musicians who have that hostile and suffocating approach to relationships. It is understandable they have pain and the need to vent. The listener wants to relate to a song but, in most cases, they are looking for productive answers and a new dynamic. They, themselves, are hurt – musicians need to offer something more positive and comforting. Badru does that but does not avoid the struggles and bad points. The reasons one feels an intimacy in the song is (the fact) Badru records out of her bedroom. She is sharing songs online but, until recently, she recorded in private for herself. The fact the songs are penned in such a closed-off and homely environment mean they have that authenticity and romance. It is not impossible to think she recorded and penned songs like Bridges in the same house she shared with a lover – where the memories and lyrics came to life. Maybe that is quite a dangerous thing: you are unable to detach from the situation, and so, the music is too subjective. I feel recording at home and having that familiar space means songs are richer and more natural. If Badru recorded in big studios and wrote with other people, her music would seem artificial and forced. She is creating in her own space and, a lot of times, producing material for herself. The fact it is out in the world means it connects with her – there is something in the music that, she feels, needs to be shared with the world.

Bridges is an amazing song because it does not idealise love and neglect the negative aspects. In the same manner; Badru does not scorn and castigate her sweetheart; portraying life as a miserable shell and a lonesome beast. There are too many artists who come out of troubled relationships and pour their blood all over the speakers. I am not sure which is worse: those who do that and artists who soppily and gratingly over-egg love and elevate it to the level of perfection. Badru is a pragmatic and grounded woman who knows what a relationship involves. There are hard times but, regardless of the reason; there are practical and workable solutions. That is a healthy and impressive attitude to take. As such, as a listener, I am more invested and curious. Whether you are in a relationship or not; hearing a balanced and smart approach to love is going to be much more palatable. The song itself is a terrific thing. There is so much working away and wisdom running throughout. I will come to the song itself but I wanted to congratulate Badru on a wonderful work. The song is taken from her forthcoming album. That L.P. will feature Mind on Fire – it has accrued more than five-million streams on Spotify – and is a highly-anticipated work. I am interested seeing what other songs accompany these tracks. It is clear relationships and the complexities of the soul are important guides. Badru is experiencing life and New York. She is making her way through the world and trying to make sense of everything. Her music is hard to categorise but maybe that is her edge: someone you try to figure out as the music is playing. In a music world with too much simplicity and predictable music; there is something wonderfully intriguing about Aisha Badru.

I wanted to feature Badru because there is another aspect to her personality: a philanthropic drive that motivates everything she does. Badru self-released an E.P. in 2015 and her song, Waiting Around, was used in a Volkswagen viral campaign. She has had success so far and, with an album looming; that is going to increase and multiply. I am excited to see how far she can go in the business. There are few that have time to record music and live their lives – and have the energy to help others, too. Aisha Badru has travelled to Bali, Indonesia and other parts of the world. She has given her time and efforts to help those less fortunate. She donated a portion of the income from the Volkswagen commercial to rebuild a home for a local poverty-stricken family. Maybe Badru is connecting with her roots and has greater affinity with those from less-well-off climates. It is her heart and indomitable spirit that means she has that charitable edge. The fact she has given so much of herself to others makes me wonder whether more artists should take this approach. Badru is someone who is keen to help others and does not want to be shut away. She knows other struggle and there are many out there in need of help. She cannot aid them all but, when she receives a bit of wealth; she feels the desire to give it to those in need. That impressive and commendable attitude needs to adopted in the industry. There are big artists who have wealth and fortune and do not donate any to others. A lot of musicians are not in such a fortunate position: they make meagre sums and need that money to fund their own music. One cannot assume every artist should give a percentage of their money to worthy causes. I am determined those bigger artists should do their part and set an example. The likes of Badru are inspiring because they could easily shut themselves away and hide.  

Music is a tough industry where few people can actually make big sums from it. If you are lucky enough to make a bit of money; where is the first place you ate putting that cash? In every community; there are causes that require extra capital. Maybe it is down to the government to fund and rescue those who need it most. In nations where that is not always possible – developing countries who are struggling – and, so, who is there to assist? I feel Aisha Badru is doing a lot of good in what she does. She is charitable and loving; her music is speaking to many people and resonating in the heart. Everything she does is motivated by a need to give back. So many artists are selfish and out for commercial gain: those who cast their wealth (spiritual and actual) to other people need to be highlighted. If bigger artists see what the likes of Badru are doing; maybe they will then take a more productive approach to philanthropy. The way we can get that message out to them is to promote Badru – the way to do that is to share her music and messages on social media. I am excited to see, when her album is out, how that will affect people and give. The music will nourish and stun; the messages will connect with many people out there. She will get money and profit when it is out to the world. People will come calling and advertisers will look to use her music. I wonder where her next project will take her. It is clear she wants to change the world and help people who have less than her. We need to back Badru and what she does for many different reasons. Her way of working is what the music industry needs. That charitable dynamic and the way she writes; how original her songs are and what her voice can do – all components that can make the industry richer and more human.

Bridges is a song I read a little about before I heard it. I know it tackles love and the barriers that come in the way. I was not sure how it would begin and what sensations would be registered from the very start. One might think of a Folk/Soul singer and feel they are going to be classic-sounding and soft. In fact, when you listen to the opening moments of Bridges – there is physicality, toughness and modernity that is unexpected. The tough and tense beats crack and punch. You get a real hit and sense of emotion from the very first seconds. That voice is something that gets under the skin. The video finds two lovers embracing and locked in a kiss; in the night’s air, they seem very happy and together. In actual fact; you can see some struggle and testing times come through. The heroine smiles but the hero, with a slightly glum face, needs lifting and reassurance. Badru, in the song, has a velvet and chocolate-rich voice that is impossibly engaging and sensual. It is rough and smoked; there is a ravaged and pained quality that means every note explodes like a firework. The heroine “fell from the stars” and, in order to find herself, she travelled far and long. I wonder whether that exploration concerns love and betterment or a physical trek. It has been a hard path for the lovers – but it seems a lot of work is needed. You get caught in the sea of warm embers that come from Badru. It is impactful and instant; a song that will mean something to every listener. You are graced and buckled by the entrance and soothe. Our girl followed the man’s spark – inside of the darkness – and accepts he has qualities. There is that deep connection but, even in the best times; the two have differences and harsher times. The need to maintain that love is paramount. Badru will not lose the flame and knows there are compromises required. She realises there are mountains to climb; the sun will not always shine. She will stick with and swears by her commitment.

Beats come through and there are keys and sweet sway. Physical metaphors are brought in to outline the gulfs and realities of the relationship. Each conflict and cross word seems like an oceanic distance and earthquake. Surviving these troubles and coming through resolved is what is required. Rather than let every quarrel and quandary rupture the heart; the sweethearts are resolved to remain true and strong together. Love can be a rather cruel thing but, rather than let every dip and bump ruin things; it is a lot less damaging opening discussions and remaining firm. That might sound impossible from the outside but it seems Badru has found someone worth sticking with. The video’s inter-racial couple are locked in clinches and seem happy but, as the video develops, there is an unease and imminent trouble. The boy is taken away and the girl is left shocked and lost. The vocals, in a way, remind me of a similar-named artist: you get a touch of Erykah Badu and, actually, Macy Gray, coming out. It is that clash between modern and classic that reflects the dichotomies of the attested relationships. The heroine melts her gorgeous voice with a composition that brings the song right to the current time. She has soul and endless passion but, sparring against those tense beats; something complex and multifaceted emerges. That is the way the relationship is brewing. Things are not easy but you have, on the one hand, heartfelt love and commitment – the ever-present strikes and winds of change are interwoven and assimilated into the song. It is impossible to listen to Bridges and not be affected by it. Whether you fall for that video and the filmic development; the staggering vocals and what they exert – or whether the entire thing gets to you. It is a fantastic cut that takes a bit of time to seep into the skin. The first time around; one takes all the threads in and lets it get into the brain. Once there, the desire to understand every moment and angle is pressing. I have heard it a number of times and am still finding new potential. It is a stunning and mesmeric cut from a New York artist unlike anyone else.

I hope Aisha Badru continues to push and record as much as she can. I feel she is making big steps and, if she can get more images and information on her pages – that will lead more people in and get journalists here busy. I know she will have gigs in the diary and plans cemented. Badru is someone who connects with humanity and people’s struggles. The fact the first song she learnt on the guitar – when she spoke with Acoustic Magazine – was The Beatles’ Blackbird cannot be a coincidence. That song is about civil rights struggle and the need for freedom. Badru has visited Africa and donated her time to help people. She wants to, this year, make documentaries and record more. She wants to get out there and bring music to the people. This humanitarian ethos and desire to better the world will entice crowds to a destination near Badru. I hope she continues to strive and plays a lot of gigs around New York. It is a state that fosters the most ambitious and original. Bridges is a tantalising insight into her forthcoming album. I wonder whether that L.P. will address love in all its moods or tackle the plight of those less fortunate. She has come a long way the past year and I feel things are going to get even better – this year will be the best one for the young American. She experimented with various effects and subjects on her album. I cannot wait to see what comes out of it. Make sure you keep abreast of all her going-ons and happenings. My biggest desire is to get Badru over to the U.K. I feel there is a lot of potential for her over this way. Few have the same desire, sound and personality as she does. London would provide ample gigs and there are many other areas she could explore. That might be a little way away – it would be quite expensive coming here – but I hope that is part of her diary. I shall leave this now but, with Bridges in my mind; I have found a new star…

IN Aisha Badru.

_______

Follow Aisha Badru

Official:

https://aishabadru.com/

Facebook:

https://www.facebook.com/aishabadrumusic

Instagram:

https://www.instagram.com/aisha.badru/

Twitter:

https://twitter.com/aishabadrumusic

SoundCloud:

https://soundcloud.com/aishabadru

YouTube:

https://www.youtube.com/channel/UC4Nf2Hls_TXqa8-Ik_cUZoQ

Spotify:

https://open.spotify.com/artist/3vsVCHUe68gqUMIZwaVUIK

FEATURE: American Idioms and the Oxford Coma: Sociability and Community in Live Music: Celebrating Independent Venue Week 2018

FEATURE:

 

American Idioms and the Oxford Coma: Sociability and Community in Live Music

 IMAGE CREDIT: @IVW_UK

Celebrating Independent Venue Week 2018

__________

NOT only is the title of this piece an awesome…

IMAGE CREDIT: Getty Images/Press

idea for a possible album – or two song-titles – but they are representative of a point I want to make. The ‘American Idioms’ is a reworking of the Green Day song, American Idiot (from their masterful album of the same name). The reason I drop this into proceedings is the anger and vitriol evident in that song. The entire album, in fact, was Green Day’s return to the snarling, puked-up Punk of their formative years. Their seventh album, released in 2004, resonated with critics and arrived after a lukewarm Warning – an album that was not quite as overtly urgent and necessary as its title suggests. I feel there is a lot of anger and annoyance inside the most placid and calm heart. The world is constantly throwing in random tragedies and moronic politicians; a slagheap of disappointment that can derail one’s life. Even the most passionate music-lover – for whom music balms the blood and provides unquestioning companionship – feels the bite and turbulence of the world. We all have something to vent and express: the physicality and connections we get from live music is almost tribal and spiritual. I want to bring in the Independent Venue Week that BBC Radio 6 Music’s Steve Lamacq is involved with – and which spots are going to get coverage. The second part of the feature’s title relates to hesitancy and social punctuation.

 IMAGE CREDIT: @IVW_UK

We all get waylaid and fatigued by modern life and the demands of the working day. It can be hard finding time to get out into the ether and connect with your fellow ‘man’. I have written about this subject a few times before: why we need to preserve the live music scene; how music is becoming digitised and intangible; the soft positional bargaining stance of the Government when it comes to protecting music venues. I know there are measures to preserve venues so that noise complaints do not sacrifice those buildings that have provided great live music for years. There is not being enough done to ensure each town/city sees their venues protected and funded. In fact; it is not soft positional bargaining at all: the reality is, our current incumbent has no real knowledge of the music scene and why it is so important. I am angry we all feel the need to isolate and ‘save money’ by sitting in and neglecting what is out there. I am guilty of that, for sure. I am angrier at the Government and the negligent attitude towards live music. Every time I think about some people’s attitudes to music; I get Blur’s Coffee + TV’s stuck in my head – or the chorus-refrain of “Sociability/Is hard enough for me…” A lot of people are spending their after-work hours watching T.V. or sitting on the Internet.

IN THIS PHOTO: Moonwalks (who will take to the stage at The Hope & Ruin on 4th February)/PHOTO CREDIT: Getty Images/Press

One of the reasons I am like that is because of my energy levels. I am exhausted by the catawampus degradation of the working day. The effort needed to drive to a venue and connect with fellow gig-goers is a struggle. Nadine Shah launched the Independent Venue Week 2018 event late last year. I was excited seeing the venues named and the hard-working people who will get their dues. The event is in its fifth year, now.  One-hundred-and-sixty venues throw their names into the hat – they wanted to be featured and celebrated. Ambassadors Nadine Shah and Adrian Utley (Portishead) will act as leads for this year’s venues celebration.

IN THIS PHOTO: Nadine Shah/PHOTO CREDIT: Getty Images

The two will curate their own shows for Independent Venue Week – Shah will perform at Hebden Bridge on 3rd February. I know IDLES are primed to close the week with a (one would think, blistering) set in Liverpool. There are a couple of reasons why I am pumped for this year’s events. From this Monday (29th) to a week tomorrow (4th February); it will see artists get their first chance to perform to a willing and anticipating crowd. In alliance with Arts Council England; the event unites breaking and established artists, promoters; labels, bloggers and tastemakers together. You can get a full rundown of the venues involved next week by looking at Independent Venue Week’s official site. The sheer width and breadth of the event mean so many great venues will get more people in – encouraging locals to get involved and come see some great bands.

IN THIS PHOTO: Steve Lamacq/PHOTO CREDIT: Getty Images/BBC

I mentioned Steve Lamacq is touring the nation and bringing his show live from five venues through that week. He kicks things off on Monday by heading to Stowmarket’s John Peel Centre; he heads to Boileroom on Tuesday (I should go as I am only down the road from the place!) and hits Leicester’s The Cookie the day after. Then; it is to Hebden Bridge, The Trades Club on 3rd (February) before a finale at Liverpool’s Studio 2 – where IDLES will be in attendance. I have sprinkled a few posters – from the Twitter page of Independent Venue Week – to show who is playing it various spaces. The Lamacq-backed venues will bring a load of new people out from their sofas and into a communal space. Not only do new artists get exposure and a rare experience: many will attend their local venues for the first time! I will tune into Lammo’s show next week and get that second-hand experience of the venues week. More than that, being close to a featured venue; it is a chance to spend an evening away from the laptop and among like-minded people. That is why next week will be so special: music fans coming together with some fantastic new artists. It is a thrilling, much-needed spotlight on a corner of music that is more like a backbone – it has been here for decades and, faith willing; it will be around long after all of us have gone.

IN THIS PHOTO: IDLES/PHOTO CREDIT: Lindsay Melbourne/DIY

Check out the link above and see which venue is closest to you. If you go to that venue’s website; they will provide details of the artists playing on the bill. Make sure, above all, you get involved and show your face. Too many of us are slaves to work - and feel reluctant engaging with anyone once the day is through. It does not have to be every day: a once-a-week gig can lift the spirits and improve mood; provide fresh impetus and bring fans and artists together. I have been determined to get out more since 2018 began. I spent a lot of time last year hypothesising and theorising my love for music; reviewing artists from afar and interviewing people by email. The social aspect of music was hidden and, as such, I got into a routine. So much of today’s music involves us being sedentary and idle. Live music is, in fact, one of the last avenues for exercise, expression and community. Many of us take live music for granted: many ignore it through fear it is too expensive and tiring. If we all make a conscious effort to see the odd gig here and there; not only are we supporting these fine and vital spaces – our happiness increases and we get out and see some great music! Independent Venue Week kicks off on Monday and, if you get that chance; make sure you get out there and support these great places. Not only will it enrich your own life but support a community who needs these venues/musicians now…

 IMAGE CREDIT: @IVW_UK

MORE than ever.

FEATURE: Spotlight: Yonaka

FEATURE:

 

Spotlight

PHOTO CREDIT: Getty Images

Yonaka

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THE boys of Shame will be next on the parapet…

PHOTO CREDIT: Louise Mason/DIY

that is the Spotlight feature. They are another band whose name can be written in lower or upper-case lettering (I'll go with the former - the latter bugs me a bit!). One of the reasons I wanted to feature Yonaka is because of their female lead: Theresa Jarvis is among the most important and original voices in new music. Joined by George Edwards, Alex Crosby and Robert Mason – the quartet whip up a heady sermon that has got critical tongues drooling and fans pumped! They have been on my radar a while but there is a reason why the guys will steam and roll through 2018: where they are based. Brighton is a city I will throw a separate spotlight on very soon. It is, alongside London and Manchester; a place where an artist/human can feel connected, alive and fulfilled. (My passion for Brighton is unquestionable and undiminished). Their shows are the stuff of fantasy: a band who knocks the roof off and can peel a tattoo from a mosher’s nuts from fifty meters! Theresa Jarvis is the insatiable and energy-infused lead who can get every crowd exhilarated. The band signed a major-label deal in mid-2016 but, as they told NME last year; the gig they played that night was a fuzzy-headed and shambolic thing – too much free champagne flowing when they all provided their wet signatures! The band already had a solid live reputation by that time: a willing crowd would forgive some off-key shouts and unruly setlists. The wake-up call came when they started to craft their E.P., Heavy.

In a music scene where there are some great female-led Rock/Alternative/Punk bands – including REWS and False Advertising - it is refreshing to see Yonaka on their own. They are non-conformist and unique: this comes across in every note of the E.P. Bubblegum, the standout single, combines a melodic sensibility of No Doubt with elements of Hole, Queens of the Stone Age and Smashing Pumpkins. The band wanted to create (an E.P.) that had consistency and distinct personality; they wanted to put something out with diversity – so it appealed to a broad taste. Singles like Drongo, Wouldn’t Wanna Be Ya and Ignorance suggest a group who do not want to be labelled and honed. Heavy’s light-dark shades mix fire and cool; an accessible core and barbed-wired boundaries. The Atlantic Records-signed band, ever since 2016, have been verbalising their insistence they are not your workaday Rock band. They sniff at the posh and whimpy bands: the kind who vote Tory and get annoyed if the local Marks and Spencer runs out of their most pretentious sandwiches. Brighton seems like the perfect place for a band of friends who want to stand out. In an area defined by colour, diversity and equality; it is encouraging they are getting more attention and making their way to the masses. Maybe they will move to London in time – more chances to play and more money – but it seems like spots such as Green Door Store and Sticky Mike’s Frog Bar are right up their street! The band – ‘Yonaka’ is the Japanese for ‘the dead of night/midnight’ – gained important exposure as early as 2016. They have already played The Great Escape, and so; with that sort of experience under their belt – I expect this year to be an even bigger one. They have had their lows and bad gigs – doing the ‘toilet circuit’ like everyone else has its risks – but have learnt a lot from it. They want to be big and make a living from music; hit it properly big and make a success of it.

They have the ammunition and talent to go as far as they want. One of the dangers of having that exposure and acclaim is a certain compromise: making allowances and trying to adapt your music for the mainstream. One hopes the band don’t appear as judges on a future series of The Voice – or appear on any reality shows – or start hanging out with Ed Sheeran on the sly! The mere images are enough to make me want to vomit my own blood: I know the band will not succumb to such cheap and fetid lows. They want to be big so they can take their music around the world and rock some epic stages. So far, in a few years, they have managed to transcend from the remnants of other bands to get where they are. The reason they have such a diverse and ever-growing look is the music the band listens to. They might be investigating Grime or Pop; throw some 1970s Punk into one day – it all comes out in their own sounds. I have been excited by Wolf Alice: a band with similar broadness who are making incredible strides. They are another female-led band who seems unlikely to squander their own path and tread down the rather colourless and fame-hungry one of the mainstream. Yonaka have that diverse spirit and variation in their ranks.

PHOTO CREDIT: Getty Images

Albums from Jeff Buckley and Dr. Dre feature in their collection; they take a lot of influence, overly or not, from the latter. What stuns me is the way they manage to integrate and mingle all the various colours and shades together. Lesser bands would come across rather uneducated and lazy. For Yonaka; they want to take chances and add an injection of originality to the scene. The world is growing bored of genetic and formulaic Popstars: the rebellious backlash are showing their anger and trying to usurp the established order. The day will come when the Brighton-based band are ruling the airwaves and taking to the Glastonbury stage. I hope, when they get there, they get to a headline spot. The festival has been accused of sexism and booking rather predictable bands to top their stages. It might take a few years but the chemistry in the camp means patience is not an issue – a lot more music will come from the quartet. So…what of 2018? They had an eventful and career-high 2017: one would hope that momentum and acclaim translate into something big this year. Peers such as Cabbage and Shame are coming along and adding something honest, real-life and working-class into music. It is a slow transition but there is a tangible need for change and revolution. It might not be on the same level as the Britpop motion of the 1990s – that is not to say bands like Yonaka cannot inspire others and make genuine changes in the industry.

PHOTO CREDIT: Louise Mason/DIY

I shall leave things here – but it is a good start to their careers. An E.P. has been released and the guys have played some great gigs. So far this year; the band has played Green Door Store and made NME’s list of the one-hundred acts to watch this year. They have played with The Cribs and brought their brand of music to the people of Reading and Cambridge. They have some minor festival dates booked for later in the year: one wonders how many other offers will come in the next few weeks! Alongside the wave of innovative new bands – including Shame and False Advertising – I feel a whole new festival could arrive. It could be one for artists who subvert the mainstream and bring anger back into music. I am not sure what the festival would be called: whatever the outcome; Yonaka would own it! Their future is bright and, with a series of stunning songs out there; I can see the fans flocking their way. I feel this year is going to be a massive one for a band who…

PHOTO CREDIT: Getty Images

ARE bringing something new and exciting to music.

_________

Follow Yonaka

PHOTO CREDIT: Getty Images

Facebook:

https://www.facebook.com/weareYONAKA/

Twitter:

https://twitter.com/weareYONAKA

Instagram:

https://www.instagram.com/weareyonaka/

SoundCloud:

https://soundcloud.com/weareyonaka

YouTube:

https://www.youtube.com/channel/UCzBddYqg5UYiz3U6EhwDCEA

Spotify:

https://open.spotify.com/artist/3Wcyta3gkOdQ4TfY0WyZpu

FEATURE: The Fall of Rome: Why Mark E. Smith Will Be Remembered Forever

FEATURE:

 

The Fall of Rome

PHOTO CREDIT: Getty Images

Why Mark E. Smith Will Be Remembered Forever

__________

I thought I would leave it a little while…

PHOTO CREDIT: Rossen/MAI/Getty

before offering my thoughts and impressions regarding the death of The Fall’s Mark E. Smith. This piece is not specifically about him: it is a look at uniqueness in music and how, as we move through the years; there are fewer standout artists and genuine personalities. I will sprinkle a couple of songs from The Fall into this piece but, with Smith’s death still raw and resonant; I wanted to reflect and offer some input. It is the stories – relating to Mark E. Smith – that is getting to me. We often think about a musician in purely musical terms. Today, with so few original spirits and characters; it is extra-sad Mark E. Smith is no longer here! I have been listening to radio tributes and remembrances. A lot of musicians, when they die, are membered and noted because of their music: you do not often single their personalities out. The Fall left behind a huge catalogue of music (more on that later) but it is, in my view, the ‘unique’ dynamics of Mark E. Smith that made the biggest impressions. The anecdotes have been shared and those riotous tales revealed. It seems, at every gig, there was something unexpected. Sometimes, he would walk off mid-song or not sing a certain song – letting his band play it without him – or he would leave the audience waiting whilst he (secretly) watched the gig from a balcony.

PHOTO CREDIT: Getty Images

In public, he would connect with people but always leave his mark. He was humble and real; he would joke and was cheeky; each interaction was memorable and real. Smith has that reputation for confrontation and awkwardness - but that seems to add to his appeal and mystique. If you had a musician always nice and cheery then that would be boring and unrealistic. People are not always pleasant and appealing: we all have bad sides and moments where we are unkind. Many might say Mark E. Smith took that a bit far – he was who he was and hope to shoulder a lot of stress and problems. Smith, especially in recent years, suffered badly with his health and, for someone determined to bring the best music to the people; maybe all that burden and strain meant he behaved that way. In reality; he was a pure and open northern soul. His spikiness and crueller moments were outweighed by the good times and wonderful music. The Fall was a fairly niche act who did not command the same popularity as artists like David Bowie, for instance. There was humour and complexity; ever-changed sounds and some of the most original songs you’ve ever heard. I suspect a wave of new affection will come – and maybe a biopic of Mark E. Smith down the line – and that provides the chance for new listeners to fall for a very special band who touched many hearts.

Mark E. Smith fired a lot of band members but, as he saw it, that was a way of keeping things new and moving. In describing him; one almost gets visions of a dictatorial ruler: a regime based on fear and intimidation. That is not the case at all. The abiding weight is of a man who, over four decades, managed to change the face of music and inspire countless other artists. I will put a playlist together at the bottom of this feature but you only need look at the reactions that poured in after his death to realise Mark E. Smith was a cherished and treasured man. His health was a burden and something that hindered a lot of live shots. In August; he was hospitalised for issues relating to the throat, mouth and respiratory system. I will end by looking at some of the tributes and testimonies that have been paid – but the final interview Smith conducted strikes my mind. Speaking with The Guardian last year; he was his usual candid and unabashed self:

Are you a Prince fan?

No. They’re weird aren’t they, Prince fans?

I guess I’m weird then. Do you like much new music?

The standard of music these days is fucking terrible. Being poorly you have to watch shit like Jools Holland. A lot of it sounds like when I was 15 and I’d go round to a long-haired guy’s flat to score a joint and they’d always put on some fucking lousy Elton John LP. That sounds like Ed Sheeran to me, a duff singer songwriter from the 70’s you find in charity shops…

PHOTO CREDIT: Getty Images  

Is it important for you to remain angry?

Yeah. People still cross the road from me; I’ve still got that. I can clear a pub when I want to. It’s a talent.

Did you vote in the general election?

I didn’t make it out. There is a Labour woman from Salford I like though [6]. I enjoyed Nick Clegg losing his seat and it also proved how clueless all these political journalists are. The barmaid knows more about politics then they do, they’re all fucking bluffers.

That selection of answers highlights the honesty and openness of Smith. He did not care for boundaries and normalisation. He was someone who spoke his mind and lived in the real world. Some of his words might have come across salty and acidic: it was always designed to project an unblemished and pure artist who was not resigned to aimless and inane sound-bites. In another Guardian interview - Brix Smith Start talked about her late (former) husband – I have sourced a small snippet:

“Somebody told me that you never know who you might meet, so you always carry a demo tape with you. He listened to three of my songs. My heart was pounding with nerves, and he turned to me and said: “You’re a fucking genius.” Marc Riley had just left, they needed another guitarist and he was probably cooking it up right then and there.

 IN THIS PHOTO: Brix Smith Start/PHOTO CREDIT: Getty Images

We fell madly in love, inseparable. So we planned our marriage for as soon as we could. We got married in the register office and we had a reception at the Eagle and Child pub, which was arranged by his dad. We had sausage rolls, pickled onions, crisps and beer. And then we went back to our flat in Prestwich, and we played music all night with our friends. It was inevitable. It was meant to be.

Any time any band did something that sounded like the Fall, it would infuriate him. He was the fiercest Mancunian that I have ever come to know, and there are a lot of them. Morrissey was a massive Fall fan before the Smiths, and used to write him fawning fan letters, which we have in our house, signed. But the Smiths signed to Rough Trade, and Rough Trade obviously put everything they had into the Smiths, which we can see now was worthwhile. And Mark felt kicked to the curb. I remember we were all playing a gig in Manchester, and the smoke alarm went off in the hotel. I was quite panicked. I saw Morrissey, and asked if he’d seen Mark, and he said: “Yeah, he’s upstairs burning.” I never spoke to him again after that”.

Everyone from BBC Radio 6 Music’s Lauren Laverne and The Charlatans’ Tim Burgess has paid tribute to the great Smith. Lavern, on her morning show, labelled Mark E. Smith one of her greatest heroes – “So sharp, clever and untouchably cool”. A fellow BBC Radio 6 Music D.J., Marc Riley, is a former member of The Fall. He played the guitar with them from 1979 and 1983 and, like Laverne; Riley paired his heart out – with a slightly different set of experiences. He learnt a lot from Smith: ideas about life and the music; a new way of life he was unfamiliar with.

IN THIS PHOTO: Marc Riley/PHOTO CREDIT: Getty Images

So many people have been out in force; determined to have their say about the icon. There are so few genuine articles in modern music: there is nobody like Mark E. Smith. We need to preserve his wit, words and wisdom for years to come. There was that grumpy and rude side – all part of a man who did not want to hide who he was. One cannot write off that side of things: the music and majestic elements of Smith outweigh all the negative factors. I shall leave the music to the end but, right now, you only need look at the durability and longevity to realise what an impact The Fall had. From 1979’s Live at Witch Trials to last year’s New Facts Emerge – thirty-two studio albums emerged in that time. 2017’s effort was lauded by critics and seen as a return to form – The Fall’s 2010s output is not seen as their strongest. Whether you fancy Extricate over Dragnet; The Marshall Suite over The Infotainment Scan – there is something in there for everyone! You can see (from the playlist below) the fantastic tracks that exploded from every album. Maybe I was a bit hasty when it came to filtering all the genius of The Fall to the man himself. The music is stunning - and unlike anything the world will ever see. Even though Smith was the catalyst behind that: the rotation of band members, and the chemistry they brought together, led to those terrific records.

Now that Mark E. Smith is gone...I wonder what the music world will do. It is like an empire collapsing: the emperor has fallen and the subjects are searching around for answers. Music will enter a darker phase where vacuum and emptiness will occupy. We will never see anyone like Smith again. Music is an industry that has more fabricated and fake artists than real people. Personality seems second-nature to the music itself. We do not really connect with musicians – new ones, at least – or get an idea of who they are and what they are about. I suspect the industry is too busy and bustling to take the time. I suspect the answer is more obvious: there is nobody that interesting and compelling. Music needs those sharp wits – and sharper tongues – to elevate it beyond the drab and boring. Smith’s unique personality translated into his music: a veritable concoction of northern poetry and working-class observation; strange sentences and odd sentiments. It was always varied and unexpected; tantalising and intriguing. It is a tragedy Smith is gone: his music will echo through the ages and his words scripted into the history books as an example to all of music. In a confused and tormenting time, where truth is subjective and facts are blurred; we have just lost a human who…

IN THIS PHOTO: Mark E. Smith and Brix Smith Start

ALWAYS told it like it was!

INTERVIEW: Late TV

INTERVIEW:

 Late TV

_______

I am already a fan of Late TV...

I was, therefore, excited when they announced the single, Losin’ It – so I jumped at the chance to catch up with them. Luke Novak (from the band) talks about the new single and whether there will be more material; how the track differs from their previous track, Citizen; why they have adopted a Bowie-esque sound to their latest cut – and what touring dates they have coming.

I learn why London is so important to the guys; what music the band are inspired by (and Luke grew up around); what the best Late TV memories have been so far; whether there are any resolutions in Luke’s/the band’s camp – some new artists are offered up for us to seek out.

_______

Hi, Late TV. How are you? How has your week been?

Pretty sweet. We’re back in the saddle after the festivities - and looking forward to our single launch gig on 24th February.

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

We consist of: Luke J. Novak on Vocals, Lyrics and Guitars; Martin Coxall on Keys; Ryan Szanyi on Bass; Richard ‘Beu’ Bowman on Drums - and a brass section featuring Evesham Nicholas on Sax and Matthew Halsall on Trumpet.

Losin’ It is your new single. What can you reveal about its story and conception?

Lyrically; it came together as an abstract meditation on that element of the human condition that’s always searching for something unattainable: possibly because it doesn’t exist. We are all playing a big game and are, by definition, destined to lose it. Musically; it’s built around the rhythm section’s groove.

We want it to take you into kind of neon dream-world: a lurid Post-Pop-culture dystopia that you can shimmy your way through….

It follows last year’s triumphant single, Citizen. Did the great reception that track was afforded pump you all to create Losin’ It?

We definitely felt more confident that there’s a place out there for our vibe. It always good to get some praise but, that said, we’d make these tunes anyway. You’ve just got to do what you do.

Can you tell me about the video’s concept and how that all came together?

I (Luke) work as a photographer - when I’m not writing a Rock masterpiece. My friend in that world, Vladimir Studenic, and I wanted to collaborate on a project outside of our work. Vlad makes these beautiful stop-motion videos. We felt like the grinding rhythm and lyrical narrative of Losin’ It would lend itself well to a photographic animation. It grew from there; I think we successfully illustrate the song and conjure up the atmosphere while leaving it open for the viewer’s interpretation.  

There are David Bowie-esque ‘Plastic-Soul’ touches on your new track. Is he someone you are compelled by – and what is it about that period that resonates?

Oh, yeah. We love funky-era Dave.

As a group; we enjoy all kind of things: from Indie to Hip-Hop; but we are definitely unified by a fetish for that 1970s/1980s period. Personally; I love how you could create your own mythology and dress up like a spaceman. Mainstream Pop culture (it seems) at that time was open in that way. In my lifetime; it appears to have branched onto separate tracks. Maybe it was easier for marketing - and they refined the process into more labelled compartments.

I like to f*ck with that by slamming things together that shouldn’t work.   

Will there be more material coming? What do you guys have planned?

Hopefully, your fine readers will get behind Losin’ It and we’ll be spurred onto more recording! I’d love to do an E.P. or maybe even an album (if we could find the funding).

How important is London, and its myriad styles and culture, to your music and lyrical perspective? Do you take a lot from the people?

Well. We were all drawn to London from the outside. That’s because that it’s the kind of place where you can find like-minded people for whatever you want to do. That’s a special thing: you can’t put a price on it…even if your landlord definitely does. There’s so much humanity rubbing shoulders that you can’t help but be inspired. I think about looking through photographs; the minute I come across one with a person…it’s instantly more captivating for me.

That’s why urban spaces are interesting: they have that in spades.   

You have French and American D.N.A. in the band. How much U.S. Jazz and Parisian smooth do you throw into the music?!

Ryan is a true American jazzman. He had his own trio back in Chicago playing standards - but he also loves Rock and Pop stuff. It definitely affects the groove - having someone who straddles schools like that. Martin definitely brings a French touch: Sébastien Tellier; Daft Punk, Phoenix etc.

I can hear that tone in his playing. 

Was it hard getting the band together? It seems like you all come from various walks of life! How did that initiation start?

It developed over time…

Beu (Drums) and I have played in bands together since school: it’s intuitive between us really. Since then, people have come and gone around us. However; we felt like something really clicked with this group. A lot of our ideas, that felt awkward before, suddenly started making sense when we formed Late TV.

Looking back at last year; what are your impressions and best memories from that time?

We loved unleashing Citizen into the world but, really, it was playing live: it felt like we really hit our stride as a live band.

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

I (Luke) first remember music from my mum’s car. I’m talking pop like Queen, Tina Turner; Stevie Nicks, Eurythmics; Paul Simon - things like that. Then, when different branches of my family upgraded their ‘hi-fi systems'; they donated their redundant old vinyl records to me; probably to play with...but I used to listen to them. I heard Roxy Music, David Bowie - right back to my eldest uncle’s Shadows stuff and my grandad’s Louis Armstrong.

I was a weird kid - but it saved me from just liking Shaggy.

Mathew says he first remembers his dad's Ry Cooder collection - and Ryan went extra-deep and was into Cannonball Adderley and Thelonious Monk. Beu has an elder brother who got him to drum in a childhood Rock 'n' Roll covers duo when he was really young - and that got him into it. 

IN THIS PHOTO: Khruangbin

Who are the new artists you recommend we check out?

Khruangbin just released a great album. They are playing in the U.K. in February. Locally; check out Sarah Tandy Trio for Jazz; Natalie Bouloudis for bluesy noir-ish Folk and Outer Lines (featuring the Jazz-composing skills of our man, Martin). Swipht are a band that we have played with (that I rate).

IN THIS PHOTO: Natalie Bouloudis

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

We are playing a charity gig for BACE (Building and Assisting Communities with Education) at The Antelope in Tooting on 9th February. We are Launching Losin’ It on the 24th Feb at The Finsbury (in Manor House). It’s going to be a party!

The sound there is always great.

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

To make that E.P. happen, and to play outside of London, would be cool. You know…spread our wings a bit.

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).

Luke: Low Cut Connie - Controversy (Prince cover)

I found this band's version the other day - and it kicks ass

Evesham: The Bombay Royale – Bunty Bunty (Give Me Back My)

Ryan:  Cannonball Adderley - Walk Tall

Martin: P Diddy - Bad Boy for Life

Beu:  Al Wilson - The Snake

Matt: CCS - Sunrise

________

Follow Late TV

Twitter:

https://twitter.com/TheLateTV

Facebook:

https://www.facebook.com/theLateTV

Instagram:

https://www.instagram.com/late.t.v/

SoundCloud:

https://soundcloud.com/latetv

YouTube:

https://www.youtube.com/channel/UCnSrBBtXCqRoX_R5EtfWgVQ

FEATURE: The January Playlist: Vol.4: Blake’s Metaphor

FEATURE:

 

The January Playlist

 IN THIS PHOTO: James Blake/PHOTO CREDIT: Universal Republic Records

Vol.4: Blake’s Metaphor

 _______

THIS is a properly chunky one!

IN THIS PHOTO: Dream Wife/PHOTO CREDIT: Getty Images

It has been a bit of a mixed time for new releases but, with 2018 in full charge; there are fresh treats from Jack White, James Blake and The Vaccines. If that were not enough…pour in some Dream Wife, Craig David and Django Django; Graham Coxon, Tom Misch (with Loyle Carner) – a bit of Shaggy and Sting for you, too.

It is a pretty decent week, by the look of things…

ALL PHOTOS (unless credited otherwise): Getty Images

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Jack White – Corporation

Unknown Mortal Orchestra – American Guilt

The Vaccines – Nightclub

Alice Glass – Cease and Desist

Tom Misch (ft. Loyle Carner) – Water Baby

Franz Ferdinand – Lazy Boy

Field Music – Share a Pillow

Fever Ray - Wanna Sip

Kali Uchis (ft. Tyler, the Creator and Bootsy Collins) - After the Storm

Noel Gallagher's High Flying Birds - It's a Beautiful World

James Blake – If the Car Besides You Moves Ahead

Justin Timberlake (ft. Chris Stapleton) – Say Something

PHOTO CREDIT: Cherry Cherry Boom Boom

Sting & Shaggy – Don’t Make Me Wait

X Ambassadors – Joyful

Craig David – Brand New

PHOTO CREDIT: 30 Seconds to Mars/Getty Images

Thirty Seconds to Mars - Dangerous Night

Django Django – Sundials

Rudimental (ft. Jess Glynne, Macklemore and Dan Caplen) - These Days

Swimming Girls – Back of Your Car

Lady Gaga – Joanne (Where Do You Think You’re Goin’?)

PHOTO CREDIT: @slb_photo

Dream Wife – Kids

PHOTO CREDIT: www.olliegrove.com

Hollie Cook – Angel Fire

Elle Watson - Suspended

Shakira (ft. Maluma) – Trap 

Lucy Rose – All That Fear

PHOTO CREDIT: Jodie Canwell

Underwater Boys – Everyone You Know

Nils Frahm – Forever Changeless

Graham Coxon – Bus Stop

The Aces – Fake Nice

Cabbage – Arms of Pleonexia

PHOTO CREDIT: @boohoomanofficial

Jhené Aiko (ft. Rae Sremmurd) - Sativa

DNCE – DANCE

Fenne Lily – On Hold

Tremors – The Rush

Three Days Grace - The Mountain

RAT BOY – BE MY ANIME

TRACK REVIEW: Rivita - Tribal Love

TRACK REVIEW:

 

Rivita

Tribal Love

9.3/10

 Tribal Love is available via:

https://soundcloud.com/rivita/triballove

GENRE:

Pop

ORIGIN:

London, U.K.

RELEASE DATE:

18th January, 2018

The E.P., Tribal Love, is available via:

http://hyperurl.co/TribalLove

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ONE of my favourite recent discoveries is…

the wonderful Rivita. I will talk about the title-song from her E.P., Tribal Love soon but, right now; I wanted to address a few areas of the songwriter that allure me. I will talk about New York and studying – how the city entices and attracts musicians – and those who mix the sounds of the East with Western flairs; how important it is bonding with music at a young age; original angles for songs and themes; those artists who go further and put their all into their art; why being unique is more important, now, than ever before – how London continues to amaze musicians looking to spread their wings. Rivita is in New York right now and, alongside her studies; she is able to exploit the city’s rich live scene. I have never been myself but I know there are many new artists relocating to New York to get their music to more people. London is great – as I shall state soon – but there is something special about New York that cannot be overlooked. Spread between its five boroughs; there is a variety of live venues and options for the ambitious musician. In the case of Rivita; she is there to learn more about what she does and get her sounds to fresh crowds. I reviewed Rivita last year – for the track, While the Love Is Gone – and was amazed at the confidence and talent on display. I have been keeping abreast of all her N.Y.C. developments and the way she has bonded with the place. Many assume New York is this bustling and overcrowded city but there is an entire state on offer – one that is rich, complicated and mysterious. I can understand why other areas draw musicians in: New York is that vast, opportunity-laden place whose beauty never dims. Rivita, I feel, has gained a new creative lease being in New York. I am not sure whether it is because of what she is being taught (in terms of academic pursuits) or the environment she is in.

In my mind; a change of setting can do wonders for music. I am in the position where I need a flash of motivation and new people. It is hard breaking out of a mould – and climbing out of that rut – but I can understand why people can get ‘comfortable. Rivita took a chance and moved across the ocean to settle in a new nation. It is scary going out alone but, surrounded by like-minded people; she has set her mind free and opened her heart. She is performing in Syracuse right now and, in that wonderful part of the city, picking up new fans and followers. If you are in New York; you can see her play Funk ‘n’ Waffles on 24th February. From there, she will be planning her next move and how she will attack. Tribal Love is an E.P. that could only have come from a hungry songwriter in a busy city. It explodes with colour and life; it is born of flashes of inspiration and a new perspective. I am thrilled Rivita has managed to write such an evocative and original E.P. I have listened to all the tracks – but it is the eponymous cut that sticks in my mind the longest. I am tempted, reading about Rivita’s time, to go to New York and embrace the state/city. I am in a bit of a personal hole so, with that in mind, maybe a change of scenery is the answer. I get a real sensation and taste of the city when reading about Rivita’s time there. She seems in love with the place and seeing her music elevate and evolve. She will come back to London but, whilst she is there; balancing studying with performing is adding so many new ideas to her palette. It is wonderful watching a brave and exciting artist build and plan. Rivita has her E.P. out and, as we head into spring; she will look to play further afield and see where her music goes. New York is a vast state so it is difficult to cover every inch. I feel she will have demands coming in from other states, too. The colourful and spirited music means Los Angeles will come knocking. I hope she can afford a flight there because Tribal Love will float and fly through the country; pricking ears and spiking minds as it goes.

You do not often see a clash of Eastern and Western sounds in music. Maybe it is more common in Asia but, in the U.K., things are too westernised and limited. One can exult a lot of brilliance from Western music but I yearn to hear other cultures brought in. Artists like Tune-Yards splice African rhythms and vocal tones into their music – meshing East and West. How many new artists piece together sensations from Asia and the West? It is rare and I think I know why: many have stereotyped notions of what Eastern music consists. They think it is quite atonal and jarring; reserved for a particular time and taste. That is wrong. What you have, in nations like India and China, are sounds that are not too detached from ours. It can be hard balancing the two because of the dominance of Western sounds. I am aware genres like Hip-Hop, Grime and Rap are more adept and willing to tangle East and West. In modern Pop; there are fewer going out their way to defy convention and try something exciting. The spice, multifariousness and delight you get from Asian music is a natural bedfellow to the music we are all used to. Tribal Love is an E.P. that brings the upbringing and early life of Rivita together with her adult experiences: living in London and studying in New York. She is not an artist who moves to Europe/the U.S. and forgets where she came from. Her family and heritage are always in her blood. She found music young – I will come to look at this in a bit – and learnt a lot from her parents. Surrounded by Asian D.N.A./music and experiencing Western music at a young age meant her mind was more open and nourished than most of us. It can be confusing having fairly disparate waves simultaneously playing in the mind. Rather than bulk and scare: the music that Rivita discovered compelled her to discover music and put her own stamp on it.

It is going to be interesting seeing what comes through this year. I am seeing a lot of promise and original music surface. Each week brings fresh proclaim and quality. Musicians are becoming bolder and new artists, knowing the scene is packed, are upping their game and doing something extraordinary. There are those who continue to stick to commercial sounds: people who take the time to subvert the game are being rewarded with radio love and promotion.  Even when you go beyond the call and create stunning music; it can be tricky standing out from the crowd. The music scene is like New York itself: vast and expansive but filled with feet and bodies. It is crowded but, if you move in the right direction; you find there are fewer competitors around you. Rivita performs Pop/Alternative but does not do it in a restrained and familiar way. There is that incorporation of Eastern riches; modern production and bold Western proclamation. She integrates the modernity and familiarity of our music with the purity, endeavour and scent. It is a heady brew – and has not become more distilled and tempered since moving to the U.S. Rivita is not someone to dispel her foundations and lose sight of what makes her special. I feel she will inspire other artists to mix nations and continents together. Africa and Asia are vast and exciting plains for discovery. Few look into South America for light; there are brilliant artists playing in Australia. If the average musician takes a bit of time to discover and search; they will find their creative mind is fevered and blown. It can lead to some truly wonderful music. You do not need to be a part of a continent to understand its unique heartbeat and timbre. Rivita brings us a genuine and passionate portrayal of where her roots are and where she is now. The young artist is looking forward and embracing new teachings but, above all, maintaining her base and upbringing.

Without pressuring a child and pushing music on them; opening their eyes to it from birth is beneficial, to say the least. Not only does it boost their personality and mind: it can lead to a career and that endless curiosity. I am not certain when it came into Rivita’s life; but I can imagine she was listening to music from a very young age. It helped her discover more about the world and learn about herself. She started performing in a choir aged five and then, as a teenager, she picked up a guitar – the rest is history. It is the way she mixed performing with studying that meant she could get her music to more people. Learning at the British and Irish Institute of Modern Music meant she could fuse an academic vantage with personal intuition. The fact she was exposed to music early in life meant she pursued the form and wanted to see how far she could go. I am not sure why it struck her and captures her heart: for me, it is about finding something that understands me; a voice that says what I want to – without being able to say it. It can be tricky articulating thoughts and emotions to those you need to say them to. Music can offer solution and suggestions; it is the constant companion that guides us all. I can understand why Rivita fell for music and wanted to add her stamp. I have covered her music a lot but, each time I hear a fresh song; I sense a development and new input. With America at her feet; there is new lands to explore and fresh sensations. Every time she makes a move – discovering new people and lands – that will aid the music and give her more to write about. I can only imagine how exciting and eye-opening New York is. As I said before; Rivita does not lose sight of where she came from so, with each new song, that distinct Eastern sounds can be heard working away. Other musicians should take note: not only in terms of sound-fusion but how travel and study can enrich and heighten the creative mind.

PHOTO CREDIT: Ronojoy Sinha Photography

Rivita is a songwriter who can address love and its complicated nature but not do it in a predictable way. Her sounds and compositions are, naturally, different to what you hear out there. There are few like her – that goes for the lyrical content, too. One gets a real personal view and perspective on love that gives pause for thought. I will look at her D.I.Y. ethics and how she chairs so much. Right now, it is worth looking at the way she approaches writing and why she deserves wider acclaim. I will assess Tribal Love when I get there but, hearing the E.P., and there is that assimilation of near-commercial content and unique embers. You are never too distant and disconnected from the songs and their meaning. By that; one never feels confused or alienated. The writing is personal and heartfelt but it ensures the language is understandable and relatable. That means, for broadcasters and D.J.s; the songs will resonate with their listeners. It is important, when launching songs, to ensure they connect with the listener. If it is too wayward and unexpected; it will be harder creating support and enduring. That said; if you are too safe and unambitious – it will appeal to many but you will be like everyone else out there. The balance is hard, for sure, but it is worth the effort. Rivita’s music looks at personal struggles and thoughts but there is something…dreamy about it. I feel the heartbeat and strain; I can hear her voice ring true but, working inside all of that, there is something magical and unusual. Maybe it is the way she phrases her lyrics or the fresh melodies employed – there is SOMETHING that goes beyond what one might normally expect. There are few out there who address common themes like passion and heartache with any new insight. I am hearing (the best) new acts do it: there are not many mainstream artists attempting it! Rivita’s diverse upbringing and youth means she has moved between areas and had her eyes opened to all sorts of people.

It is that area we spoke about before: travel and the mix of cultures. If we are too homogenised and homeward-bound; that means we only have a limited view of the world. Our experiences of love and life will only stretch so far. I am not suggested one travels the globe endlessly and abandons where they live. What I mean is, without that curiosity and bravery; music, and life, can be very boring. I am passionate about London and there is a reason for that: you get so many cultures and contrasts working together. With that; you are familiar with different peoples and millions of unique angles. If you are confined to a town/smaller city; I wonder how much you are getting out of love. So many writers, away from busy cities, are learning about love and life from the media and television. They only have a certain amount of tales in their heart. The city can be demanding and scary but, supplemented with travel; it does so much for a young and agile mind. Rivita is still very young so, as she grows as a songwriter; there will be opportunities to perform in other nations. I know she will have her heart broken (we all do) but those experiences will teach her new things. She is receiving a first-class education and, in the endless potential of New York; she is receiving wisdom many of us dream about. All of this means her songwriter is stronger and more dynamic than most out there. Even if (as a songwriter) you cannot afford to travel and live in another city – I feel a degree of boldness and adventure can lead to wonderful things. The better and stronger the material is; the more demands come through. I will talk more about this in the conclusion but, right now, I want to address Rivita’s most impressive facet.

She is someone who takes care of her music and ensures she does not let too many others control it. Sure; she works with other talent now and then but, above all, it is that personal input that shines through. Modern music is a challenging industry for those coming through. It can be very difficult getting a record label and finding instant success. Expense is at the heart of everything: recording a single song can be quite eye-watering. Artists have to put so much finance into their art that it is leading to problems and stresses. There is an alternative available: being D.I.Y. and using as much modern technology as possible. Rivita is in the same position as many of her peers. She does not have extraordinary wealth and, ambitious as she is; there are barriers and boundaries she is aware of. Her mind and songwriter is unlike anything out there. She is a lot hungrier than most artists I have come across. The temptation to race and dream is always there. Rather than worry about financial concerns and limitations; she embraces her talents and puts her everything into what she does. Rivita does not need an army of personnel to help get the music to life. Some musicians do not have artistic talent – in terms of design – so they need others to design their covers and artwork. Rivita has artistic and photographic flair; producing ability and multi-instrumental potential. One of the reasons Rivita’s music sounds so fresh and original is the fact she has a say at each stage of the process. She does not need an expensive studio and loads of writers to get her to the people. It is amazing seeing her produce such captivating and astonishing music. I can only imagine how the process comes together. Starting with that germ of an idea; she then grabs various instruments and tries various ideas and takes. From there; she will get down a basic recording and then, from there, comes the layering and augmentation. Even when the song is finished; the songwriter is thinking about the look of the E.P./single cover and the music video.

Her videos are experimental and bold; she has filmic desire and ensures the physicality and adventure of each song is beautifully realised on the screen. I am always compelled each time a song comes through. Not only are the sonics new and enlightening; the videos and designs are exceptional. Being unique, at this time, is more important than ever before. There are few artists who take real risks and approach music in a new way. Rivita is someone who has little desire to fit into a generic mainstream. Her music and thoughts are much more important than that. We have just lost one of music’s true innovators (Mark E. Smith). The Fall’s leader inspired so many and, in death, revealed what a singular talent he was. I hope artists learn from him and realise why his legacy is so treasured. I am always seeking artists who go beyond the usual callings and do something unique. You get a very fresh and exciting experience with Rivita. She brings us into her world: one that explodes with life, smells and rare sights. Her D.I.Y. ethic and determination, coupled with the need to stand out, means the music is much more enriching and long-lasting than most. One could argue her attachment to London is responsible for that. The capital is that ever-enticing area where artists feel they need to move to. The opportunities available are immense; there are so many different races and people living in the same city. Rivita has bonded with London and all its avenues and dimensions. I was going to talk about it more but, with time ticking on; I feel I should come to look at the big event: the wonderful and exciting song, Tribal Love.

I recommend you check out the Tribal Love E.P. in its fullness to get a proper viewpoint of Rivita. I wanted to concentrate on its title-track because, to me, it is the most striking and complete documentation of the E.P. There is a certain delight and quirkiness that comes out in Tribal Love. Right from the off; one gets suggestions of teasing beats and unfamiliar, unique ingredients. The signatures and projections are not your normal thing: there is something delightful and original coming out. It is an exciting introduction that leads to a passionate vocal. Maybe that is not the right word: ‘accusatory’ might, strangely, be more appropriate. The heroine is looking out at someone and wondering whether will go if they have no hands to hold – if someone does not have their back. Right then, I was thinking about infidelity and mistrust. Perhaps the hero has been insincere or not as loyal as he should be. Our heroine is asking him questions and revealing what his future could be – if he takes an unwise course and continues to act this way. The song’s title might suggest something explosive, sexual and enflamed. There is another aspect to ‘tribal’: something rather basic and unevolved. You get a little of both definitions as the song progresses. This rare love (tribal love) can fix her; it is the only thing that will give her satisfaction. Maybe that is a proper man and someone who opens her eyes; the possibilities of the world and the music industry – there is a passion in her heart that is being fostered. Little beats and tumbling electronics mix physicality and with breeziness. John Webber mastered the song but the production and sounds is from Rivita. The production balances polish and homely; you get a real intimacy but, when called upon, the song expands and opens its wings. It is the vocals that really get to me. There are few singers who have the same stylistic approach to singing. There is a clear accent and a fresh personality; something that goes beyond the predictable and boring...

PHOTO CREDIT: Monica Goyle

As Tribal Love progresses; my projection and interpretation changes. There is that need to get out of the hole she is in and nourish her soul. The heroine does not need a man to make her feel empty and bad. That might sound strange but, with him by her side; problems are increasing and things are too hard. Rather than suffer the same pain as before; Rivita is looking for a new form of love that will get her in a better mood. I am looking at music and the arts and possible sources for revitalisation. Maybe New York and her new setting have compelled the need for change. The buzz and variety on display means she does not need a bad lover to enrich her. There is a whole world out there and, with music ringing in her soul; there is something proper and purposeful to grab onto. The chorus is catchy but has sweetness to it. This rare and enflamed love will fix her. It can, I guess, mean different things depending on how you approach the song. Whilst there have been more overt fusions of East and West in her music: Tribal Love goes beyond what one normally expects and fuses unexpected sounds together. There are wonderful synths/percussions and brilliant vocals – that switch between emotional and strident – that all mix into a stunning pot. By the end of the song, you are keen to lay out predictions and interpretations. It is a song that reveals new light and truth the more you hear it; something that warrants proper time and focus. Tribal Love shows how far Rivita has come and the new influences she is putting into her locker. It is an extraordinary song from a brave, open and honest songwriter - who will have a very rich 2018.

I hinted at the wonders of London a bit earlier. Rivita is busy studying in New York and lining gigs up there. I know she has gigs coming but, as the weather warms; she’ll want to get out there and seduce as many people as possible! I feel the state is vast and scary. Where does she start when it comes to gigs?! She will speak to a lot of like-minded artists who have tips and suggestions for her, I am sure. When she completes her education; I hope she returns to London and gets involved with the local scene. There are so many spaces that would love to house her music. The city is always teeming with ambition and possibility. We need more artists like her in London. There are some great artists here but there are none like Rivita – that same sound and sensation! I am excited to see how she develops in 2018 and what she brings to music. You get can Tribal Love (the E.P.) from iTunes and Spotify (link below); listen to her music through SoundCloud and keep abreast through social media. It is a busy and important time for the young artist. I hope to see her sometime soon but, for those lucky enough to be in New York; keep informed with all her goings on through Facebook. There will be more announcements in due course. Rivita designs her own merchandise – look at her official website – and it is something you want to get your hands on! She is a complete artist who manages to make extraordinary, original music and link that with incredible products, designs and promotional videos. Rivita is the definition of what a modern artist should be: a multi-talented proposition who needs very few others to make her ambitions fly. All of this means her stock will grow as we head through 2018. I am excited seeing where can go. I am sure she is thinking about academia at the moment but, in time, she will look to see how far she can go in music. Maybe the mainstream is a few years away but, on the basis of Tribal Love, I believe she can go…

ALL the way there.

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Follow Rivita

Official:

https://www.rivitamusic.com/

Facebook:

https://www.facebook.com/Rivitamusic/

Instagram:

https://www.instagram.com/rivitamusic/

Twitter:

https://twitter.com/rivitamusic

SoundCloud:

https://soundcloud.com/rivita

YouTube:

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

Spotify:

https://open.spotify.com/artist/6mNplee0qiXx9dtNN28ekN

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

________

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.

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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

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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

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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…

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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

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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

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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