INTERVIEW: Matthew Gordon Price

INTERVIEW:

 PHOTO CREDIT: Taylor Harford Photography

Matthew Gordon Price

_______

HIS E.P., Rivalry, is out on 30th March…

and promises to be something very special. I have been speaking with Matthew Gordon Price about it and the stories that go into the tracks – and whether there is a song that stands out in his mind. He discusses the artists who have impacted him; what tour dates he has coming up; some new artists to watch carefully – how his current material differs from 2016’s The Bird & the Tree.

Price talks about idols like Damien Rice and which artists he was exposed to at a young age; what his personal aims are for this year; whether there is a favourite memory from his time in music; whether we can expect a single from the Rivalry E.P. – the talented songwriter tells me the three albums he holds dearest.

______

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

Hi Sam. It’s been a bit mental, not going to lie. Working hard at the moment trying to get myself ready for the new release and, as an independent artist, it’s a difficult task organising everything - but I love doing it so can’t really complain.

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

I’m Matthew. I’m originally from a small seaside town called Burnham-on-Sea in Somerset - but now based in Plymouth. My music has been labelled Indie/Alt-Folk. I’ve been compared to Damien Rice, Glenn Hansard; Marcus Mumford, Keaton Henson and others alike.

Your E.P., Rivalry, is out on 30th March. Can you reveal the themes and ideas that are investigated throughout?

Honestly, I’d like to keep that a thought for the audience...

But, overall the E.P. is about showing everyone a new sound…a new direction and a new me, I suppose? The songs, themselves, are about more recent events in my life - but I think the lyrics paint a better picture than me spilling all the goods.

Is there a standout song from the E.P. that is particularly special?

Personally, they all mean a lot to me in different ways - but Sweet as Stone, when I first wrote that, meant a lot. It hurt to write it and it still does to sing it...although Numb is close behind.

Will you release a single from the E.P.? Can we see anything arrive before the end of March?

Yes. Sweet as Stone will be available from 2nd March. (Fingers crossed).

How does your current material differ to 2016’s The Bird & the Tree?

I still like performing the old stuff but my overall sound has changed dramatically. Vocally and band-wise I’ve gained a bigger and tighter sound - which I’m proud of – and am always striving for better, though, with recordings - as many musicians will probably agree.

You have made changes since then. You play with a full band. What was the decision behind recruiting members? How did you find them all?

I recorded my first E.P. with my drummer (Dan Johnson) and really from there it has grown. I found most of the other musicians through the local music scene or friends…

What kind of music did you grow up around? Do you have a first memory of music?

Anything my parents used to play in the house/car: mainly 1960s and 1970s music like The Beatles, The Kinks; Queen, Manfred Mann; T.Rex, The Hollies; Bob Dylan etc.

You have been compared to the likes of Damien Rice and Glenn Hansard. Are these artists important to you?

Damien Rice is a big inspiration for me - so I understand why people can sometimes say it comes across in my music. Glenn Hansard, on the other hand; people think I sound like him, vocally, which I have picked up on - and have listened to him more since.

IN THIS PHOTO: Noah Gundersen

Who are the new artists you recommend we check out?

Noah Gundersen, Keaton Henson and Matt Corby are up there for me...but, Jamie Yost (also in my band) is one to look up - as he has some real-good tracks he will release this year.

IN THIS PHOTO: Jamie Jost

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

Damien Rice - O

Noah Gundersen - Carry the Ghost

Keaton Henson – Kindly Now

PHOTO CREDIT: RYWSessions

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

I’ve got a mini-London-tour in Feb. Then, working on an August tour with the band alongside supporting tour bands.

13th Feb: The Lucky Pig, London (7 P.M.)

15th Feb: The Pack & Carriage, London (7 P.M.)

7th April:  EP LAUNCH: The Junction, Plymouth (8 P.M.)

20th April: The Spice of Life, London (7 P.M.)

PHOTO CREDIT: RYWSessions

If someone came to one of your gigs; what could they expect in terms of the material played and the stage set-up?

I like to put on a ‘show’ - and I don’t mean entertainment with Jazz hands: I mean, musically, I like to start ambient then hit hard with a Rock-y sound. Then, I’ll bring it down after a few numbers for an intimate solo set; then bring the band back on to perform the new E.P.

I’m usually a very quiet person on stage - but that’s something I’m working on.

What do you hope to achieve, personally, in 2018?

Personally, I just want to gain a following that loves my music; wants to watch me perform at intimate venues and that I could do house gigs/small events with. I’m not looking for fame or fortune: give me enough money to get by and I’ll be happy doing what I’m doing.

Obviously, more festivals would be good too, though – they are always a good laugh.

Have you got a favourite memory from your time in music – the one that sticks in the mind?

Busking…no matter where, when or who with. I’ve busked with many different musicians and there is nothing like it. You get some real weirdoes, sometimes, who come up to you and chat – but, sometimes, you get really down-to-earth, lovely people.

I had a guy come up to us once, crying, saying what he heard was “so moving”. It’s those moments that you say to yourself: “This is what it’s about” - and I don’t mean making people cry. It’s about connecting with someone else and, even though they don’t know you; they don’t know the reasons you wrote the music – they connect with you.

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).

Noah Gundersen – Cigarettes

_______

 Follow Matthew Gordon Price

Official:

http://www.matthewgordonprice.com/

Facebook:

https://www.facebook.com/MatthewGordonPrice/

Twitter:

https://twitter.com/MattGordonPrice

SoundCloud:

https://soundcloud.com/matthewgordonprice

Instagram:

https://www.instagram.com/matthewgordonprice/

BandCamp:

https://matthewgordonprice.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCz1ylB-3Z5y2VziTqA7d_dA

Spotify:

https://open.spotify.com/artist/4ohf9VcNzWAKLRPkIbaFMq

FEATURE: Homeward Bound: Why Paul Simon’s Decision to Quit Touring Is Especially Sad

FEATURE:

 

Homeward Bound

 IMAGE/PHOTO CREDITS: Getty Images

Why Paul Simon’s Decision to Quit Touring Is Especially Sad

_________

PAUL Simon is the latest music icon to announce...

 IMAGE CREDIT: Getty Images

his retirement from the stage. Before he departs the world of touring, he will appear in a one-off show - billed Homeward Bound: The Farwell Performance. It will take place on 15th July and is part of the final night of this year’s British Summer Time festival in Hyde Park. Bonnie Raitt and James Taylor (& His All-Star Band) will be in attendance. It is a must-see occasion for two reasons: for a start; it is Paul Simon! You are getting a fantastic show, regardless, but, more than that; it is the final time we will see him in the U.K. I wonder whether this ‘final’ show is a total embargo – or he will play other shows in the U.S. When his Stranger to Stranger album was released in 2016; Simon was adamant his passion for touring was over. Many might say his decision is unsurprising given his age: at seventy-six; Simon is at a stage in life where he needs to start looking after himself. It is interesting seeing why certain legends call time on their live careers. I was saddened to hear about Neil Diamond and his battle with Parkinson’s. It seems, even in advancing years, he is keen to bring his music to the people. The two U.S. icons have different reasons for departing the stage – they are not the only examples of established artists retiring from performance.

IN THIS PHOTO: Neil Diamond

I worry, for any artist, the sheer physical and psychological demands are too much to handle. Older artists are more vulnerable and, as such, many are cutting their careers short. Neil Diamond’s situation is different: it is not an effect of relentless touring and the pressure put on him. Others, like AC/DC’s Brian Johnson – who feared he was going deaf; he had to succeed the frontman reigns to Axl Rose – have been afflicted with hearing problems and other such issues. The public will always have a demand for these artists - but I wonder whether enough is being done to ensure their health and wellbeing is not compromised. Fortunately, Brian Johnson is back in action but for others, the damage caused by consistent touring and its physical demands is irreparable. Touring is not a young person’s game but, more and more, I fear some of our finest-ever musicians are losing the spark. Those who want to continue playing are either being affected by health issues or running out of steam. I realise there are plenty of long-standing legends who are still pounding and putting out music – from Sir Paul McCartney and Bob Dylan to The Rolling Stones – but they are among the more fortunate. Many continue because of financial rewards; others to ensure they have a platform for their music: most do it for the sheer love of playing.

It is a shame some are unable to continue but, in Paul Simon’s case; it seems age and medical reasons are not behind things – merely a lack of love and desire to keep going. He speculated, back in 2016, his identity revolved around a series of gigs and recordings. He was starting to lose a bit of himself and, as such, has put to an end his touring life. Maybe it is a natural result of decades of touring; perhaps Simon wants to slow down and spend more time away from music – whatever the real reason; it is a huge shame to see him bow out. We all want our favourite bands/artists to keep going until life decides otherwise. I feel the zeal to keep going and not disappoint the public is leading to undeserved and premature decline. In the case of Paul Simon; perhaps that desire to fit into a particular ‘mould’ meant his everyday existence became robotic. We will not be able to see Paul Simon perform beyond his U.K. date – let’s hope he records new material down the line. I would hate to think this is the end for Simon’s career. To me, his music and live shows are what music should be. From his days with Art Garfunkel through his extraordinary solo career; he has produced some of the greatest material ever. To me, it is all about Graceland...

I know we will not see Simon join Ladysmith Black Mambazo to recreate that extraordinary album. Experiencing the full spectrum of his career, and its fresh nuances, is why we go to see artists like Paul Simon play. Hearing Diamonds on the Soles of Her Shoes, The Boxer and The Obvious Child on the same bill is a treat few of will ever be lucky enough to see. Simon’s music is inspiring and otherworldly; the songs timeless and indelible. The way they come to life on the stage means they take on a new life and dynamic. We cannot put too much pressure on our artists: if they want to retire and spend time away from the stage, then that should be encouraged. Paul Simon has been playing for decades and has brought his music to the adoring masses. The 15th July will be a fabulous occasion and glorious swansong for Simon. Whilst we might not seem his grace the stage ever again: recording material, surely, will follow at some point?! What form that takes, and when that comes, is down to him – one would like to think that would arrive sooner rather than later. I have been thinking about some of the huge names that have retired from the stage and what a loss it is for music. Maybe it is me being nostalgic or musing about mortality: the absence the world will feel is going to be big. It has been a long and exciting road for Paul Simon – and thinks are not over yet. Make sure you get to British Summer Time festival and the Homeward Bound: The Farwell Performance. Whatever Paul Simon has planned for that finale; I am sure the gig will be…

ONE to remember.

INTERVIEW: Bleek Noir

INTERVIEW:

 Bleek Noir

_______

STEP into a rude-scented cave of…

crepuscular sex, mystical smoke and beguiling mysticism…and meet Bleek Noir. He might be sitting sprawled by a laptop with an empty bottle of Viagra for all I know – I like to think of the fine artist as the ever-alluring musician as this intriguing and fictional figure of fascination (sitting on his sofa watching Pointless as he smokes a bedraggled, defeated cigarette!). Regardless of his current position – and consciousness!– I have been speaking with the Leeds-based warrior about his upcoming single, Lips Left Hissing. The single is out on Friday – its wonderful video is available to viewing eyes, now. I am premiering it on my site and offering its first outing!

Bleek Noir speaks about his E.P., The Garden de Sade (out on 2nd March), and the themes that go into it; which musicians have hit his heart the hardest; what we can expect in terms of future gigs; why there have been some definite ups and downs the past year – and why this year promises to be a very special one!

_______

Hi, Bleek Noir. How are you? How has your week been?

I’m alive, Sam (I’m smiling). I hope you’re well, sir - thanks for doing this. This week, I received the mastered record and I’m rather pleased with the results. When one project ends, it’s a freeing feeling; doubled with a strong desire to begin writing and to see where I go to next…

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

Bleek Noir is just me; some old drum machines and a Moog. I’ve always written rather lyrical songs - and the music has always had something dark and melancholic about it. I think of Bleek Noir as attentive music - in that it’s dark and distinctive, yet accessible.

Can you tell me how ‘Bleek Noir’ was born? Was there a moment where you needed to transform from ‘Christopher Fox’ to this beguiling and enticing figure?

I like those words…

Pre-Bleek Noir, I was recording and touring the country under the name 'Kindest of Thieves' - which was, previously, a guitar-drums duo just before the Royal Blood explosion. We were sniffed around by a few labels; deals were waved in front of us and it all quickly fell apart…permanently removing ‘something’ from inside me. There was a solo period of Kindest of Thieves before the birth of Bleek Noir where I explored my love of (the) 1920s and 1930s Jazz - and writing music inspired by that sound.

This carnation earned me a living and enabled me to meet many of the members of my Bleek Noir audience at an earlier time - whom I thank for so many reasons. Suddenly, I experienced a six-month viral infection; which meant I wasn’t able to sing - and it robbed me of any energy. I won’t bore you with details, but it was a horrible time for a huge host of reasons, made worse by other factors…which I’ve removed from this history. The inability to perform and work left me feeling hollow: I honestly had no idea who I was.

The first Bleek Noir E.P., Fresh Born Animal & I’m Not Sure Who I Am, was my first time trying to write music outside of the 1920s and 1930s styles of music in a number of years. When I’d finished, I couldn’t go back. I folded Kindest of Thieves which, of course, wasn’t easy…and here we are, way down the road in so little time…

Tell me about the new single, Lips Left Hissing. What is the story behind that one?

The lead guitar riff is my tribute to Rowland S. Howard in some way, I think.

(It’d be somewhat embarrassing if people heard this now and thought: “…really?!”)

Lyrically; it’s about holding a memory very close to you, unnaturally close to you - sometimes you hold many. You hold them to reassure yourself that those things happened and you’re capable of those things again. Well; the few I was holding faded, literally, and made fuzzy as though the memory has been processed - so I can no longer make out detail or time frames.

There’s a number of natural reasons for this - but that’s what the song is about: “Oh, fu*k me dead/It all fell out my head/You have joined the gaps in time/that slipped the bars that caged the mind blind/I clung to everything/but nothing clung to me”.

The video sees a female dancer, in black-and-white, dancing in a pub room. Was there a reason for that particular concept? What does the concept symbolise, in relation to the song’s messages?

That’s Smokestack in Leeds: a fine speakeasy bar and venue. The dancer is Annie Keating, a dear friend of mine (and a professional dancer/teacher). There was no grand concept; only that I knew I couldn’t convey the sentiment of the lyrics in a video. (I know my limits.) I was pleased with the Last Night I Saw Myself with the Animals Video as low-production/snuff-film-esque as it is...but I needed backup here. I wanted to keep the low light, shaky; handheld, cut-up feel…but I wanted something dramatic, powerful and beautiful happening to accompany such a complex lyrical concept. I think Annie really does that.

I wish I could give some really big elaborate and artistic response, but that’s honestly it. That, and I can’t stand three days of editing my own face: it’s enough to make me shudder for all eternity.

It is from the E.P., The Garden de Sade. What sort of themes and ideas go into the E.P.?

De Sade; The Marquis de Sade (sadism). The Garden; the world, a sadistic world...pretentious, eh?

Themes? That’s a really good question...

Do You What I Mean? is about struggling to connect and relate - and the surprise when you do. (Lips Left Hissing, we’ve covered already). Can’t Have Her (is about) an internal conversation: me and my black dog. Ten Kinds of Love I think, in all honesty; this is a Goth-y ‘maybe’ love song. From the Bell Jar: the bell jar is England the unemployed are becoming the homeless; the post-Brexit culture is here and I don’t like it. It’s quite a misanthropic song, I guess. Last Night I Saw Myself with the Animals, which is very important to me, I’m quite proud of it.

It’s about total disconnection, confusion (hence, why it lyrically darts around); a need to feel things, depression and trying to maintain a relationship at the same time. Pleased to say LNISMWTA was written accessing older, blurrier and darker pasts.

How do you think your current work differs from your first offerings as Bleek Noir?

I think the production is much better this time - though it’s still pretty lo-fi.

It’s darker; a little more challenging, musically; a lot more lyrical; a hundred-times more dramatic and as honest as I can possibly be. I think I’m showing a fleshed, full-formed and boundary-less Bleek Noir.

Your music reminds me of dark and theatrical artists like Nick Cave. How important is he to you?

That’s flattering, thank you. Nick is very important. His music and writing changed everything for me - from The Birthday Party through to Skeleton Tree…it’s all incredible. Equally important, though, are Tom Waits, Leonard Cohen; Morrissey, Billie Holiday; Echo & the Bunnymen…

I think, over years of adoring an artist’s work and consuming everything they’ve ever made over and over again; something about their work or sound becomes engrained in you. It’s all happening behind the skull, of its own accord. I think my years of listening and playing 1920s and 1930s Jazz - and in that style - a lot of that is under my fingers and in my voice.

I want those lulling melodies vocally and in the music - via those beautiful and interesting chord voicings.

Which artists did you grow up listening to? Did your parents instil music in you from a young age?

My first gig was Black Sabbath was I when thirteen - the original line-up at Download Festival. I begged my parents to take me to Donington. I think, at that point, my dad realised I wasn’t gonna be playing rugby, ever - and both my parents have been really supportive of me making music since I was twelve. Morrissey, when he released You Are the Quarry, was introduced at home; then, so was his earlier solo work…then, The Smiths. During this time, we’d buy tickets for multiple tour dates around the country and go and see him play everywhere from little theatres to festivals. Later; I started going alone. The Low in High School tour will be my seventeenth time: it’s a very personal thing to me now; the music was there through everything.

Echo & the Bunnymen was always my dad’s band: he went to see them religiously everywhere when he was younger; so that band, and especially those first four albums, are very much in me now. I love that band - and Will Sergeant, their guitarist, is not only one of life’s nice people but he’s a criminally-underrated guitarist.

You are based out of Leeds. What is Leeds, and Yorkshire, like for new music? Is it somewhere you can find opportunities and like-minded souls?

I’m originally from Warrington - so I tend to like anywhere outside of there. Seriously, though, I love Leeds. It’s been home for two years nearly and I have no intention of being anywhere else. Leeds and Yorkshire’s Roots and Jazz music scenes are exceptional. That was my calling here. I was welcomed by many of the musicians and promoters surrounding those styles and, in areas like Sheffield; I found I’d built a real audience of people I genuinely really admire and like as human beings.

Many of them still follow my releases as Bleek Noir - and I’m really thankful.

IN THIS PHOTO: ist ist

Who are the new artists you recommend we check out?

There’s a band called ist ist. They’re the best thing to happen to new music in ages: dark, catchy and brilliant. Naked (On Drugs) are also fantastic and more experimental...I also think (Nick) Cave fans will enjoy N.O.D.

They’re both Manchester bands.

IN THIS PHOTO: A promotional image from Naked (On Drug)'s Facebook page

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

Three? That’s not possible.

Billie Holiday - Lady in Satin

Because it’s the most beautiful album ever made - i’m certain of it. Despite her health and issues with drugs her voice, to me, during this session, is like a weathered instrument. Perfect.

The Smiths - The Smiths

Because I needed that album.

Leonard Cohen - Songs of Love and Hate

Because it’s lyrically-perfect and so beautifully melancholic that it’s hardly believable...

Tom Waits - Franks Wild Years/Rain Dogs

Tom waits at his height of genius and, of course, Marc Ribot: one of the world’s finest guitarists.

Echo & the Bunnymen - Heaven Up Here

I can’t hear this album enough - and I’ve listened to it thousands and thousands of times. One of Britain’s finest bands (and Liverpool’s finest exports).

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

I’ve been offered gigs and festivals across the country and Europe as Bleek Noir - and I’m keen to begin accepting these offers and bringing Bleek Noir to the stage. So far; Bleek Noir has been a recording project: when it goes live, it’s going be different to the record…

It seems like a live show would be a different experience to a Bleek Noir recording! Do you work with other musicians when on stage? What differences are there between your studio work and your live gigs?

Due to my history playing in a duo; I like creating big, wide (but clear) guitar sounds and I have a sampler to trigger the drum machines for the stage. I don’t want to have a backing-track situation; so I think, live, Bleek Noir will be drum machines, guitar and vocals. The arrangements will be more about ‘the song’. However I look at it; to have an honest and energetic live set-up, I’ll have to sacrifice some of the overdubs on the recorded versions.

But, raw and exciting live shows are where I’ve always lived.

What has been your most treasured memory from your career so far?

Playing with a horn section for the final Kindest of Thieves record (my previous carnation). It was recorded at Mill Hill Chapel in Leeds onto tape by James O’Connor.

A really special experience.

How do you spend time away from music? Any hobbies or favourite ways to chill?

If I’m not writing, recording; mixing or producing content, I’m with a friend over dinner or in a bar (though, I rarely drink) or at my place. Otherwise; I’m rather addicted to documentaries and reading certain writers – (Milan) Kundera, (Charles) Bukowski; (Leonard) Cohen, (Haruki) Murakami etc.

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).

This never stops really ‘getting’ me...

________

Follow Bleek Noir

Official:

https://www.bleeknoir.com/

Facebook:

https://www.facebook.com/bleeknoir/

Twitter:

https://twitter.com/bleeknoir

Instagram:

https://www.instagram.com/chrisfox_bleeknoir/

BandCamp:

https://bleeknoir.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCmnLpAbDUeMY42Usk4ZiY5A

Spotify:

https://open.spotify.com/artist/3G0dWjXbSeP78IBgoyPXCW

INTERVIEW: ROE

INTERVIEW:

ROE

 _______

I can only imagine how challenging it is…

for a teenage artist to get a foothold in the music industry. Irish musician ROE discusses her path into music and what inspired the brilliant and arresting, Wasted.Patient.Thinking. She talks about the music scene in Derry – and how important the Irish crowds are – the artists/sounds that inspire her music; whether there are any tour dates coming up – and whether we can expect to see new material very soon.

I ask ROE how it feels having her music described as ‘grumpy’; how musical her young life was; the three albums that mean the most to her; some great new acts worth checking out – how she spends her free time (away from music).

_______

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

Heya! It’s been pretty chill for a change!

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

My name’s ROE and I’m an Electro-Pop multi-instrumentalist.

You describe your music as ‘grumpy’. Is that a persona, to an extent – or is it a genuine manifestation of personal anxieties and mood?

I think the grumpy thing comes from my lyrics - so it’s just genuine mood! Most of my songs sound pretty happy - until you really listen to the lyrics and then people realise how dark the things I talk about really are. About a year ago, a blog described my music as ‘grumpy Electro-Pop’ and I really liked the term so, ever since, I’ve just run with it!

Wasted.Patient.Thinking. is your new single. Can you talk about the background and what the song is all about?

Wasted.Patient.Thinking. is about not putting someone else’s happiness above your own. Everybody gets into bad relationships at some point in their life: whether it’s with pals or something more and, even though it might be hard; the best thing in those situations is to get out of it and look after yourself - rather than think about someone else’s feelings.

Is there going to be more material later in the year? What are you working on right now?

Definitely! At the minute; I’m back in the studio working on a big release for this year and I’m always writing new material…

So...you can 100% expect a lot in 2018.

Derry is where you are from. Is there a big music scene there? How inspirational are the people to you?

The music scene in Derry is pretty big and there’s usually always a gig to go to - but I think the support for local artists could be way better. For some reason, I think it’s really hard to get people from Derry to head out to an original band’s gig. The people of in our music community seriously inspired me to get involved in it. The music workshops put on when I was younger were what pushed me to keep writing and playing for people.

I have been thinking about young artists and the pressure the media puts on them. At ninteen; do you feel there is a weight of expectation behind you?

Yeah. I think that, by being a young artist, there is this underlying pressure of having to accomplish all of your goals while you’re still really young - even though there are so many musicians out there that spend years working on their music to get where they want to be. In the year-and-a-half that I’ve been doing this; I’ve also realised how important your image and the way that you present yourself is (which is a bit scary) - because everything that you put up online or say in an interview is just out there in public for everyone to see.

But, there’s also something super-honest about that, though, which I love.

Last year; you played in Europe and the U.K. – some big festival appearances included! Is it quite a whirlwind looking back? Do you hope to have the same success – and busy diary – as 2017?

It’s been absolutely mental!

I never expected to be as busy as I was last year and, in no way, expected to be playing all of these big festivals less than a year into being ROE. I would love to be as busy as last year- hopefully even busier! 

Is the stage somewhere you feel your music comes to life? How exhilarating is it getting that first-hand reaction from people?

100%! Anytime I play a gig, it’s always a mad feeling looking out and watching people listen to my songs for the first time. When people cry or smile - or start dancing away - I get this feeling of gratification knowing that I’ve written something that connects to people the way I wanted it to. Even though I play these songs over and over; the crowd and the fact that these people are only hearing what I’ve written for the first time always makes me hyped to play them.

Was your early life filled with music? Which artists were you exposed to at a young age?

I’ve always been connected to music because of my dad. When I was younger, he listened to loads of C.D.s in the house and took me to concerts. I played the cello when I was in primary school and took some piano lessons. But; it wasn’t until I was about fourteen and my brother got a guitar - which I stole - for Christmas that I really got into playing music.

There was a lot of U2, Bon Jovi and The Killers in my life as a kid.

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

What are the new artists you recommend we check out?

I think you should check out Tom Misch, Sigrid and The Academic. They’re all super-cool.

 IN THIS PHOTO: The Academic/PHOTO CREDIT: Getty Images

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

Joni Mitchell’s Blue

Because the way that she tells stories in her songs really translated into my writing.

U2’s Songs of Innocence

Because my dad always played them around the house growing up - and he was the one that got me into music.

Stevie Wonder’s Songs in the Key of Life

Because it’s an album that I always come back to and, every time, it amazes me how incredible of a songwriter he is.

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

At the minute, I’m planning an Irish tour! I have a few gigs coming up soon. I’m playing the Nerve Centre on Friday (2nd February) for Independent Venue Week; Output Belfast on 8th - and I have a couple more gigs coming up down in Dublin soon!

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

Glastonbury; because of how insane it was that I was playing at it and the Other Voices festival down in Dingle because of how incredible that weekend was. It was just the best craic - and every show was packed out! Also; Whelan’s Ones to Watch because it was my first time doing a gig there - and there was a full-house (of the best audience) for it.

How do you spend time away from music? Any hobbies or favourite ways to chill?

I go to the gym a few days a week to clear my head; hang out with my friends and watch a lot of T.V. shows!

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).

I Wish - Stevie Wonder

________

Follow ROE

Facebook:

https://www.facebook.com/RoeMusicOfficial/

Twitter:

https://twitter.com/Roe_music

SoundCloud:

https://soundcloud.com/roemusicofficial

Instagram:

https://www.instagram.com/roemusic/ 

FEATURE: 2005: Birds, Alarms and Demon Days: The Playlist

FEATURE:

 

2005

ALL IMAGES: Getty Images

Birds, Alarms and Demon Days: The Playlist

_________

EACH year produces truly stunning albums and moments…

we were not expecting! It is always interesting watching L.P.s arrive and stay in the mind for ages. The past few years have been strong but, looking back at the magical '00s; I have been thinking of the years that were very special – an unusual amount of great albums that we did not see coming! The 2000s was a phenomenal time for music, and so, I have been harking back and thinking which year of the decade, for me, really took my breath. Of course, the early part of the decade saw terrific albums by The Streets, The White Stripes and The Strokes: 2005 was no slouch and, if anything, provided a sumptuous array of styles, standouts and stunners. From Kanye West’s Late Registration to M.I.A.’s Arular; Gorillaz’s Demon Days through to Bloc Party’s Silent Alarm and Anthony and the Johnsons’ I Am a Bird Now - I collate songs from the albums that made 2005…

A truly world-class year for music.

INTERVIEW: Gizmo Varillas

INTERVIEW:

 Gizmo Varillas

_______

IT has been fascinating speaking with Gizmo Varillas…

about his new track, Losing You, and what compelled its creation. He tells me about his second album, Dreaming of Better Days, and the sort of ideas that go into the songs. I ask about his upbringing and the music that inspires him hardest; what gigs he has in the pipe; how motivating London is – and which new artists are worth digging.

He talks about his favourite memory so far and the three albums he holds dearest; how his Spanish upbringing has shaped and driven his music; how he spends his time away from music – why writing Losing You was especially emotional and upsetting.

_______

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

Great, thank you - excited to release new music this year.

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

I am a songwriter that makes music (mainly) inspired by Latin America and Africa. I use traditional tropical rhythms and instruments from around the world to create new exciting music.

Losing You is the new single. It was written as a response to the Pulse nightclub shootings in 2016. Was it an emotional track to put together?

It was emotional. It's one of the few songs that I have written that, as I made the melody, it inflicted an emotional reaction on me...

I shed a few tears while writing it.

What was your reaction to what happened? Did you affect you in a very immediate and profound way?

I was shocked at first: what happened didn't really sink in at first. It was only when I was on the train - I was really touched by what I saw on the train that same day. I was on my way to work and I saw two men sitting opposite me, crying and holding hands. I must have internalised that and the next day the song just flew out of my mouth, word for word. I used the name ‘Maribel’ as a way of putting myself in the shoes of one of the Latin mothers who lost their child. That song is, basically, a letter to her.

The sad lyrics provide some sort of depth - and the happy music gives reassurance.

The song is taken from your second album, Dreaming of Better Days. Can you reveal any other songs and ideas on the record? What are the main topics of inspiration you explore?

Lonely Heart is an ode to companionship and friendship. Fever, Fever is an analogy of the state of the world. It's about how tensions are rising: “The heat is getting critical, fever, fever". But, it's also about empowerment and taking a stand, hence: “I'm not waiting for a miracle”. It can also be interpreted in a way that, for example, the Earth's temperature is actually rising, too - and that it's time to change our ways. So; there are several meanings that can be drawn from this song. One People is about bringing people closer together.

Camino Al Amor is about the highs and lows of finding love: the good and the bad is all part of the journey. Through the Hourglass is a song of nostalgia and finding your way back home. Before the Sun Goes Down has a carpe diem message behind it. The Truth Will Be Heard is a song of freedom and that you can't tie down the truth: one way or another, it will come out eventually. Lights Down Low is about the power of love and how it can pull us back up in our lowest of times.

Dreaming of Better Days is a song of hope - and envisioning a brighter future.

Your music takes in rhythms from African and Latin sway - a myriad combination of colours. Are vibrancy and eclecticism important as a songwriter?

It certainly is for me. I need this vibrancy in my songs to make it interesting for me. I think it makes the album, as a whole, more colourful and distinctive.

Do you feel your music differs a lot from your earliest music in 2016? What are the main changes you have made as an artist?

I think there hasn't been a huge shift. What has happened is that my music has developed in various ways. I have incorporated new instruments; the production and sound have changed - but the feeling and emotion in the songs are the same as in 2016.

That's why I think this second album is a natural progression from the first - and I am very proud of both.

How much influence do you take from your homeland and the sounds you were exposed to young?

I was born in Spain (by the northern coastline) and I used to travel a lot in the car, listening to music while going from beach to beach. So, those moments have been engrained in me forever. I take huge influence from that time when I was young; but it's more of an inbuilt thing now.

That's something you can't erase.

Politics and the state of the world seem to play into your thoughts. Do you think, with leaders like Trump creating division, you have become more inward-looking as a writer? What is your view of the current political climate?

In these troubled times; Trump certainly creates division. In that respect, he is one of the most destructive people in power. His decision to put a wall around Mexico certainly fuelled the writing of a song like Fever, Fever – as I wrote “I'm tearing down these walls we have between us”. His actions have made me more outward-looking, if anything, I consider the state of the world to be something important to talk about. (I could not watch atrocities and not talk about them in my songs).

I will always feel the urge to write about what is going on in the world.

London is where you are based now. Is the city somewhere that gives you creative flow and ideas?

London has a powerful energy to it that keeps you on your toes. I like that. It does give me creative ideas - because I take so much inspiration from the different cultures that live here. I have also seen so many great musicians in this city and that is also inspiring - to be the best you can be. It allows you to find yourself and find out what qualities make you different from everyone else.

 IN THIS PHOTO: Quantic/PHOTO CREDIT: Christina Jorro Studios

Who are the new artists you recommend we check out?

I really like Quantic, Jungle Fire and Sinkane.

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

Bob Marley – Exodus

Because Bob spoke about the injustices he faced around him in this album in such a profound way.

Fela Kuti – Zombie

Because not many artists can make a political stance and make you want to dance the night away at the same time. The percussion on this album is just phenomenal.

Manu Chao – Clandestino

Because it is the soundtrack to my youth and it brings me huge nostalgia - as well as being an incredible record full of great songs and feel good music.

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

On 12th February, I will be supporting the amazing Mexican pop star Natalia Lafourcade at KOKO (in London). Shortly after, I will be announcing my own headline show in London - so make sure to keep an eye out. More dates will follow that takes me across the U.K. and Europe.

You will find everything on my website.

What has been your most treasured memory from your career so far?

Creating two albums in my bedroom and seeing them being played by fans from Australia, to Russia; Turkey, Mexico and Africa...

That, for me, is my most treasured memory to date.

How do you spend time away from music? Any hobbies or favourite ways to chill?

I love climbing, swimming - and I also surf when I'm in Spain or Portugal. I also like to listen to podcasts or read books on poetry and indigenous culture and music.

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

Natalia Lafourcade – Tú Si Sabes Quererme

________

Follow Gizmo Varillas

Official:

http://www.gizmovarillas.com/

Facebook:

https://www.facebook.com/GizmoVarillas/

Twitter:

https://twitter.com/GizmoVarillas

SoundCloud:

https://soundcloud.com/gizmovarillas

Instagram:

https://www.instagram.com/gizmovarillas/

YouTube:

https://www.youtube.com/gizmovarillas

Spotify:

https://open.spotify.com/user/gizmovarillas

INTERVIEW: Vulpine Smile

INTERVIEW:

Vulpine Smile

_______

THEIR new single is in the can - and the boys are teasing…

it to the waiting world. I have been speaking with Cambridge’s Vulpine Smile about their new single, The Way It Flows, and what inspired it (it will be released to the waiting public soon). I find out - Josh shoulders the questions - how the band came together and what gigs they have coming up; the music that inspires them; what we can expect to hear on their forthcoming E.P. – some of the new artists we should check out.

I find out how Vulpine Smile’s music comes together and what motivates them; whether there is a trouble-maker in the ranks; how they spend their free time; the albums that mean the most to them – and if there is a special story behind that unique band-name.

_______

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

We are good, thanks. Been busy working and making new music and artwork for the band.

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

We are a three-piece Garage-Blues-Rock band from Cambridge. Josh plays the guitar and sings; Matt plays bass and Jack’s on drums.

Can I ask where the name ‘Vulpine Smile’ comes from? Is there a special story behind it?

One day, Jack decided he wanted to become a tattoo artist; so he bought a tattoo gun online and, when it arrived, started tattooing his own body for practice. He then decided he needed to practice on someone else; so he asked me (Josh) if he could. Originally, I wanted an eagle - but it was too difficult to draw so I ended up with a little fox on my leg. 

‘Vulpine’ is another word for 'fox' and it seemed to roll off the tongue…so we went with it.

The Way It Flows is your new track. It sounds like you are at your most confident. Do you feel at the peak of your game? What is the song about?

We’ve been gigging and making music together for over a year now, so we feel confident playing together. We feel that there is a lot we have to show people. The song is a satire on conformity…or maybe just a love song - we’re not quite sure.

Will there be a video for it? Any plans regarding a forthcoming shoot?

We are working on concepts for a video at the moment: hopefully, soon, we will have something interesting.

There will be an E.P., I understand. Can you reveal song-titles or inspirations? What can we expect from it?

You can expect a mix of dark, heavy riffs - like in Glass Machine - but also some pretty Folk songs to even things out a bit.

Cambridge is where you are based. Is there a busy and hungry music scene up there?

There is a good music scene and there are some great bands about. However, Cambridge is more suited to Folk singers and Jazz bands. Plus; it’s a small city - so we tend to play the same venues over and over (like The Corner House or The Blue Moon).

I am interested how you all found one another. Give us an insight into the formation of Vulpine Smile…

Originally, me and Jack were a two-piece playing Garage-Rock and Blues. We started writing more complicated songs and decided to start looking for a bass player to help us out. Me and Jack are twin brothers; so we have known each other since birth - but we were both friends with Matt all the way through school.

We hadn’t seen Matt in about six years - but we knew he was a musician - so we asked him if he wanted to play bass in our band. He said ‘yes’ however, at the time, he was just a guitarist and had never picked up a bass before in his life – luckily, he took to it pretty quickly and completely transformed our sound.

Do you all share music tastes? Which artists are you each inspired by?

We do share similar music tastes but we have also introduced each other to all sorts of music. I’ve always been very inspired by old Blues and Folk music: Blind Willie Johnson in particular; Bob Dylan and Damien Rice for lyrics and Hendrix for the riffs. Oh…and Jeff Buckley (Josh).

I think Pete Trewavas from Marillion would be top of my list as an inspiration...Justin Chancellor, also (Matt)

Jack White as a songwriter and drummer: complete genius (Jack Page).

IN THIS PHOTO: Anna Calvi

Who are the new artists you recommend we check out?

Don’t know that many new artists - but we like Anna Calvi, The Dead Weather; Uni, Screaming Females; Lillie Mae and Black Country Communion.

IN THIS PHOTO: Screaming Females/PHOTO CREDIT: Farrah Skeiky

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

I heard The White Stripes’ debut album (The White Stripes) in my late-teens and it just felt perfect to me. I didn’t know music could be so simple, yet so powerful and beautiful. This was the first time I thought about making my own music and being in a band (Josh).

Dream Theater – Octavarium

This album remains one of my most-listened-to on my iPod I think I was sixteen when I first heard it. The twenty-six-minute song, Octavarium, still gives me goosebumps. Every track is magical (Matt).

The first time I knew I wanted to be a drummer was when I heard Jack White playing the drums for The Dead Weather on their album, Horehound. I was so obsessed with his drumming that I would watch the same Dead Weather concert over and over again every night (Jack).

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

We are still adding finishing touches to the E.P. at the moment. Once that’s done; we will be getting some dates sorted. We’re always looking for gigs: we’ll play pretty much anywhere.

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

Last year, we played The Garage in London. We opened for a Chinese band Called Miserable Faith, who we’d never heard of, but, apparently, they’re massive in China - because it seemed like about two-million Chinese people turned up! They went absolutely mental when Miserable Faith came out.

It was a fun night!

Is there a standout member of the group who causes a bit of mischief – that ‘character’ that gives it an extra ounce of ‘oomph’?!

Jack is definitely one to watch...

He has a habit for spontaneous drum solos; losing his underwear and ranting on about obscure conspiracy theories involving aliens.

How do you all spend time away from music? Any hobbies or favourite ways to chill?

Jack spends a lot of time holed up in his room making weird art for the band. He also plays a lot of video games (as does Matt). We watch a lot of films; go to the cinema as much as we can and are obsessed with T.V. series Peaky Blinders and Vikings.

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).

Jack White - Respect Commander

Anna Calvi - I’ll Be Your Man

Marillion - An Accidental Man

________

Follow Vulpine Smile

Facebook:

https://www.facebook.com/vulpinesmileband/

SoundCloud:

https://soundcloud.com/vulpine-smile

FEATURE: Sam-I-Am: The Importance of Self-Belief

FEATURE:

 

Sam-I-Am

 ALL PHOTOS (unless credited otherwise): Unsplash

The Importance of Self-Belief

_________

THE title of this feature tips its hat (red, of course) to a...

IMAGE CREDIT: Getty Images

character in Dr. Seuss’ Green Eggs and Ham. He is a figure who encourages others to eat the eponymous foodstuff – an unpopular little bug who, in the end, gets approval! It is not a coincidence the unappreciated character comes to mind. I am gazing out at the music world and seeing a lot of self-doubt and recrimination. Artists, who put themselves out there and produce wonderful stuff, are being overlooked and snubbed. Many others are questioning their worth and place in music. It is not only musicians who are on my mind: other music-based professionals are enveloped in a smog of upset and anxiety. There is a certain inevitability we would see a rise in stress and worry levels. Music is a packed and challenging industry that demands full attention and unwavering focus. One of the reasons I have penned this article is (because of) doubts I have regarding my own work. I look out at the sea of blogs and wonder where I fit in the running order. We are told Pitchfork is the world’s most-demanded and popular blog. Other sites like The 405, CLASH and Consequence of Sound are high up on that list. I look at NME and The Guardian and, whilst prolific and packed with quality – I wonder whether I am THAT much worse than them! By that; I see the work these sites put out and they receive a lot more attention than I do...

I promote my site and put out anywhere up to twenty pieces a week. Every day, something new comes from me – I have not missed a day in well over a year! The energy and time I put into my site mean I offer neglect social time and travel. The reason I sacrifice so much of myself is that goal: to become as big as the aforementioned. In terms of quality and variation; I wonder whether they are all THAT much better?! I get annoyed because bands and artists boast and brim when these sites premiere their music. They go to them first and consider it a holy chalice – even if the feature/article is less in-depth and well-presented. It seems popularity and brand is more sought-after than quality and depth – the more followers and fans you have, basically, the ‘better’ you are. That might sound like sour grapes – a nice accompaniment to the green eggs and ham! – but it is an observation on the world of music. I know these sites have more staff and time available – maybe making my work-rate more impressive – and they are shinier; have a wider readership and pool. The fact they, often, produce less work and are not that far ahead of me irks – and the discrepancy in reputation and numbers is a worry. All my work and sacrifice is designed to be in a position where someone will notice me; I am scooped by a big station/website and can monetise my creativity.

I know the reality is slender – or far-off, at the very least – but I often struggle to rationalise the gulfs and how, in many cases, quality and prolificacy are lesser markers than, well…being ‘cool’. Musicians often get into the same mindset: chasing numbers and valuing themselves in terms of how they compare to others. Many of us get into a habit of sitting on social media sites and obsessively watching for updates/notifications/messages. I have, literally, sat on Twitter – after posting a piece – and waiting for people to give it a thumbs-up and comment! That may sound beyond-sad (and is!) but many of are programmed like this. Unless my latest piece gets a dozen ‘likes’ right off the bat, and gets shared numerous times, then I am a failure. I do struggle with the fact many of my pieces are under-viewed and are not shared. I try my best to promote everything and tag artists/labels when relevant. I can only do so much: maybe relying on followers and others to share my work is not the best idea. That may sound cruel but a new thought comes to mind: should people like me value themselves in numerical terms?! Is it sage comparing yourself to others?! I feel we all get into a position where we have an idealised vision of who we are; we race ahead and impatiently chase success and respect – if we do not get where we dream of being right away...we lash out and take it out on ourselves. That might be a natural side-effect from a generation who are becoming more immersed in the machine; quantifying every portion of their life in digital terms.

It can be hard giving ourselves a pat on the back when we have high ambitions and crave success so readily. I want that radio gig – producing or presenting – and often feel like that will never come. You never know what is around the corner, mind. Too many of us feel unloved and worthless if we are not elevated and canonised right away. The hard slog and endless plugging can take a lot out of us – if we do not feel we are seeing fair returns. I get into that groove. I graft and endlessly slog to get out good pieces and (try to) match the consistency and quality of the biggest blogs. I feel there is an epidemic where we chase perfection and see self-worth in binary terms: if we reach our dreams, we have made it: if we do not get there then we are failures. I am seeing many artists being discriminated against and overlooked because of their style, looks and location. Many female artists are being promoted because of their looks – does music still favour the beautiful and sexy?! – and others, outside of London, ignored and considered inferior. There is a lot working against modern artists: it is only natural many would feel their confidence dip. I feel the only way we will all feel better about ourselves is to stop comparing ourselves to others.

That might be like telling a drug addict to put the needle down and try yoga instead – that is the power and grip a social media mindset has! – but it will make us all healthier and calmer. I know I will progress and get bigger as time gets on but, when it is all said and done; I get a lot of acclaim and support from peers on social media. I value a single person reading something I have floated out: the fact thousands are not drooling over my latest interview should not take away from the support I already have! In my case; moving into London and surrounding myself with venues, radio stations and likeminded folk will see my work get out to more people. Others need to detox from their current malaise and get themselves away from the screen. Just because you are not headlining a festival stage does not mean you are worthless. I am not a minor journalist because I am smaller and less attractive than Pitchfork. I know full well I have qualities that site does not; I am a different beast and would not want to be them. It can be, as I said, hard to cast that shell of expectation and lacking self-belief off and love yourself. This might sound like a self-help seminar but we all need to appreciate how far we have come and the support we have acquired.

Every musician I feature has a base and followers; they have produced great work and will go on to great success and acclaim. Music is not an industry that puts you out to stud when you are a certain age – like football or other sports – so we all have the luxury of time. I believe we can all get where we want to in time: castigating unrealistic timelines and equating self-worth to streaming figures and follower numbers is a paramount goal for each and every one of us! We should all detach from social media and spend far less time on it. I used that drugs analogy because that is what it feels like: if we wean ourselves off; the sweat will drip and we’ll go destroying properties and mugging old ladies to calm our gibbering bodies! I am in the same position, mind. I feel a single day off social media would do damage to my work and prolificacy – it is insane, of course. Because of this, being caught in the machine, all of my self-worth comes from statistics and algorithms. It is heartbreaking seeing musicians and professionals beat themselves up because their latest tune has only received a few-thousand streams on Spotify; their video is not trending on YouTube...or radio stations are not playing their music. 

The maladies, psychological and physical, affecting the music industry is severe and troubling. We all have big hopes for our work and want to see it do as well as we can. Most of us have to make big sacrifices and work our fingers to the bone to get a bit of material out there – let alone perform it and push it to radio stations etc. I can appreciate those who dream big and have lofty ambitions: if you lack that sort of drive then you will not go far in music. We are all in fifth gear, all of the time. Self-flagellation and insane personal targets are going to damage our confidence and self hugely. I am among those who want to ‘make it’ – whatever that entails – but realise it will take a little longer yet. I think we all want to achieve our dreams as soon as possible; we feel all that effort warrants more acclaim than we actually get. Like the ignored Sam-I-Am in Green Ham and Eggs...many might question your truth and declarations now but, soon enough, they will realise…

YOU were right all along.

FEATURE: On Another Planet! Why Bruno Mars’ Sweep of the Grammys Proves the Award Ceremony Is a Farce

FEATURE:

 

On Another Planet!

 IN THIS PHOTO: Bruno Mars with his multitude of Grammys/PHOTO CREDIT: Reuters/Carlo Allegri

Why Bruno Mars’ Sweep of the Grammys Proves the Award Ceremony Is a Farce

_________

I think it was The Simpsons who made a joke about the Grammys…

IN THIS PHOTO: Janelle Monáe (during her speech at the Grammy Awards)/PHOTO CREDIT: Jeff Kravitz/Getty Images

back in the 1990s. They took a dig at it – claiming it to be the biggest award show farce out there – and, as you’d expect, showed clairvoyance and sense. That is not a shock: the show has made bold predictions that have come true (like Donald Trump becoming President, alarmingly!). I was pumped and excited about this year’s Grammy Awards for two reasons: Hip-Hop and Rap looked like it could take a share of the prizes; women were being recognised (not as much as they should, mind!). It seemed greater equality and parity could come in. An award show that is defined by its recognition of mainstream male artists would, I hoped, buck the trend and reward quality over popularity. Although Kendrick Lamar walked away with six (lesser) Grammys: Bruno Mars made headlines and walked away with the most awards. Many assumed Lamar would win the big prize for his album, DAMN. Instead; Mars claimed the Album of the Year for 24K Magic. The album won Record of the Year and one of its songs, That’s What I Like, won Song of the Year. Kendrick Lamar won Best Rap Album - but one wonders why he was snubbed and overlooked regarding DAMN. When the nominations were announced, and artists like Lamar, Jay-Z and SZA nominated for awards; the fact they went away with fewer than predicted makes me wonder whether the Grammy Awards will ever change!

I was hopeful mainstream categories would recognise Kendrick Lamar and Jay-Z. I am glad Lamar won a smattering of awards - he was favourite to win in the album category. I am not against Bruno Mars but I feel 24K Magic was less well-received than DAMN.; it is not as strong and is more commercial than Lamar’s magnum opus. I wonder, then, whether the judges are falling back on old ways! There were few female winners on the night - Alessia Cara won Best New Artist – and, at an occasion where attendees wore a white rose to support causes tackling sexism and inequality; the fact few females were recognised calls into questions the ethics and validity of the Grammy Awards. I am not suggesting a Kendrick Lamar/Jay-Z victory, coupled with big female praise, would change the music world overnight. If you are judging on quality then I have to ask why Bruno Mars’ latest album swept the board. Those victories symbolise a triumph of commercial and ‘fun’ over more political, serious music. There are some great songs on 24K Magic but it is nowhere near as strong as DAMN. One cannot claim racism – as Bruno Mars is black – but an ignorance and rejection of Rap/Hip-Hop’s deserved place in the mainstream is alarming. I hope people look at last night’s results and questions whether any real development has taken place...

IN THIS PHOTO: Kendrick Lamar (performing on the night)/PHOTO CREDIT: Jeff Kravitz/Getty Images

I could give Bruno Mars his dues if his album was the superior offering – it would not matter what genre it was if it deserved prizes. The fact the judges have opted for a weaker, more commercial effort – than Kendrick Lamar and Jay-Z – brings into question how valid the Grammy Awards are at a time when they need to show wisdom. Kesha’s powerful rendition of Praying wowed the crowds and brought the subject of abuse (she survived abuse herself) into focus. A night that highlighted abuse and imbalance; the way women are overlooked and ignored – to omit them from the winners’ enclosure is laced with irony. Lorde, SZA; Lady Gaga and Kesha all missed out; it was a boys-dominated night and one that put Pop/R&B at the forefront. There were some deserved winners on the night. Aside from Lamar claiming five awards; artists like Foo Fighters and Leonard Cohen scooped prizes (Best Rock song (for Run) and Best Rock Performance (You Want It Darker) respectively); there were wins for War on Drugs and LCD Soundsystem. Ed Sheeran scooped a few awards – including Best Pop Album and Best Pop Solo Performance – and there were some powerful, memorable moments. Janelle Monáe delivered a timely and heartfelt speech that addressed sexism and equality: the fact the time for pay gaps and lack of awareness is through. That need to end the silence and see diversity reign seemed bitterly ironic considering who won the major awards at the Grammys.

It is the biggest music award show on the planet and should, one would imagine, set an example to everyone else out there. I am a fan of Jay-Z and feel his exposing, personal; raw and open album, 4:44, warranted a few gongs at the very least – he went home empty-handed. He was nominated for eight awards and, the fact he did not win any of them, makes me wonder whether there will ever be that balance of quality-diversity at the ceremony. In order for the music industry to progress; to find that equality it sorely needs – we need to tackle areas like the Grammys and ask why they insist on proffering something easy-going and accessible. If they ignore albums/artists challenging and angry; they are sending out a bad message and proving themselves to be afraid and unwilling to bend. It was not a surprise Kendrick Lamar did well in Rap-specific categories – he was expected to do so. When I reacted to the nominations list (last year); I genuinely felt we would see female winners and a triumphant night for Jay-Z and Kendrick Lamar. The fact Alessia Cara was the only female winner - in terms of the main awards; a few were handed out in other categories - on the night seems like gender tokenism: ignoring the wealth of other female artists that were nominated in favour of their male counterparts. All the white roses and thought-provoking speeches seemed almost hollow when you heard the winners announced during the Grammys.

Going forward...the judges need to consider how they decide winners and what message they sent to the world of music. I am sure Bruno Mars worked hard to create 24K Magic but his massive success has highlighted bigger problems at the Grammy Awards: how few women are being nominated/honoured; Pop, R&B and more commercial sounds are still favoured when it comes to the main honours. I know award ceremonies are not the biggest and most important things in the music business: the hard work the artists put out to the people is. These ceremonies reward the finest artists and, bar a few alternatives; few award shows are taking risks and recognising those artists who go beyond the ordinary. I was agog when Jay-Z left award-less; perplexed Kendrick Lamar didn’t receive more awards than he did – it was a night that promised genuine change and progression but remained rooted, predictable and lacking. I hope 2019 sees more female nominated/winning; forgoing the temptation to give the big awards out to Pop/R&B chart acts; ensure quality is a bigger factor than any form of popularity and commercialism. The best takeaways from this year’s Grammy Awards were the white rose-wearing artists and those performers who delivered such stirring and impassioned messages – most of them were female. Everyone wants to see change and progression. The only way we can do that is to show greater equality and common sense at our award shows. The Grammy Awards should have been a night that redressed imbalance and recognised artists/genres overlooked in past years. As it is; the abiding impression is of an award ceremony that could have done something extraordinary but, instead…

PHOTO CREDIT: Getty Images

TOOK a safe and familiar course.

FEATURE: A Matter of Interpretation: Cover Versions That Cannot Be Redeemed

FEATURE:

 

A Matter of Interpretation

  PHOTO CREDIT: Unsplash

Cover Versions That Cannot Be Redeemed

__________

SOME things in the world are open to debate…

PHOTO CREDIT: Unsplash

and different points of view. I guess you can apply that to the age-old argument as to whether new music is better than older (I have my opinion!). It is possible to have a reasoned quarrel regarding certain film franchises and whether the British or Americans have the best entertainment industry; whether Australia has the most beautiful landscape, women and sites – or whether that honour belongs to another nation (perhaps, a rather subjective one!). In fact; there are millions of different themes and areas of discussion that can divide people – debate and contrasting views can open up healthy debate. There are, mind you, things that are beyond reasonable logic and argument. Piers Morgan is a complete waste of space: anyone who argues against that is an imbecile. Looking at music and I will not hear anyone who argues against the following statements: the 1990s was the best decade for music; if you do not like The Beatles you have no business calling yourself a fan of music; the government needs to do a lot more to finance and support the industry.

IMAGE CREDIT: Getty Images

I guess the area of cover versions is a bit more contentious. In previous pieces; I have looked at the finest covers and why they have gained their status. To me, Jeff Buckley’s interpretation of Hallelujah is a work of wonder. It is a transcendent and life-affirming turn that takes Leonard Cohen’s words and pairs them with his angelic voice. The fact it has been covered – Buckley’s version – but countless half-wits has not diminished its magic and allure. That song did not come together quickly: Buckley tried numerous different versions before the final version was committed to record. Hallelujah was a hard one to nail! Given the majesty of Leonard Cohen and his incredible writing – not many artists would be brave enough to take a song that took Cohen two years to write and try and add their own stamp to it.

IMAGE CREDIT: Getty Images

Whether you prefer The Futureheads’ version of Hounds of Love to Kate Bush’s original; Jimi Hendrix’s explosive reworking of All Along the Watchtower to Bob Dylan’s – you cannot ignore the fact the cover versions add something new to the song. I wonder why some artists dare to touch other people’s music. I guess they are trying to do a good version but, when you listen to some, you wonder whether that was in their mind – or they are deliberately trying to ruin a song! Rather than mock some dreadful cover versions; I have collated a collection of songs that should act as a warning to anyone thinking about tackling another artist’s music and how…

 PHOTO CREDIT: Unsplash

NOT to do things!

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

__________

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

__________

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

_______

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!

_______

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:

https://www.facebook.com/carla.j.easton

Instagram:

https://www.instagram.com/carla.j.easton/

YouTube:

https://www.youtube.com/user/videoartist111

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

__________

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

________

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

_________

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.

_______

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