FEATURE: Sit Down. Stand Up: Why Underrated Albums Warrant Fresh Ears

FEATURE:

 

Sit Down. Stand Up

  IN THIS IMAGE: The album cover of Radiohead's Hail to the Thief/ALL IMAGES (unless credited otherwise): Getty Images

Why Underrated Albums Warrant Fresh Ears

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AT this very moment, I am listening to Sit Down. Stand Up…

PHOTO CREDIT: Unsplash

by the irrepressible Radiohead. It is the second track from the band’s sixth studio album. Released in 2003; it (the album) was seen as a minor step between their 2000-wonder-work and 2007’s 'Radiohead 2.0' masterpiece, In Rainbows. After the Kid A/Amnesiac period of 2000-2001; few expected Radiohead to have a whole lot more in the tank. I remember when the album came out: as a huge Radiohead fan, it took a while for Hail to the Thief to resonate and seduce. Its nervy and urgent one-two, 2+2 = 5 and Sit Down. Stand Up is the band at their most insistent and unexpected. All the songs on the album have alternative titles (in parentheses). 2+2 = 5’s is The Lukewarm.; Sit Down. Stand Up’s is Snakes & Ladders. The best, in fact, is Sail to the Moon’s Brush the Cobwebs Out of the Sky. (I am not sure if I have put all the upper-case letters in the right place - the band did tease the rules of grammar). The album received good reviews when it was released - although it was muted compared to their early acclaim. Those who saw promise highlighted the confidence and ambition running throughout. Others, who found it less charged, felt it was filler-heavy and lacked the consistent genius of, sat OK Computer. Thom Yorke was inspired by the ongoing War on Terror (around that time) and right-wing politics. At a time, fifteen years later, where we are seeing a return – or a continuation? – of those fears…surely Hail to the Thief deserves new investigation?!

I grant there are a few weak tracks on the album – The Gloaming, I Will and Scatterbrain could have been left out – but, if you erase them; you have a solid eleven-track album that could rival their finest work! Maybe a lack of strict editing killed the album’s chance of getting into more minds. The opening two tracks are intense and beguiling; Sail to the Moon passionate, beautiful and tender (dedicated to and written for Thom Yorke’s son, Noah) and A Punchup at a Wedding funny, moody and magnificent. There There is, in my view, the finest thing they have ever done! It is hard to put into words how good the song is – so complex, gorgeous and spine-tingling. As a whole, bar a few weak moments; the record is sublime and very underrated. That 2003-nugget is not the only record that deserves fresh ears. Coldplay’s Parachutes, despite its negative associations (it is a Coldplay album, after all!) is actually a lot stronger than many give it credit for. It is a template for superb Pop that many should hold dear. From hits like Yellow and Blues-influenced songs like Shiver – it is a solid album and, as a debut, one of the best ever. Beck’s Midnite Vultures is another one that tends to hover under the retrospective radar. It is as eccentric and scattershot as Odelay but, to many, not nearly as good! Debra and Sexx Laws are stone-cold stunners; it has the Funk brilliance of a Prince or James Brown album – with the invention of a mid-career Beatles disc.

Pearl Jam’s Vitalogy is a record that warranted/warrants more. Elliott Smith’s Figure 8 is an album I am seeing a lot of artists name-check as fountains of knowledge. It was released in 2000 and saw Smith transcend from minimalist solo artist to fully-fledged band-leader. It is flourishing and swelling; diverse, symphonic and grand in place – not what the established core were expecting. Many critics recognised its brilliance and evolution: others were scared and felt it was a drastic-move-too-far manoeuvre from Smith. Fleetwood Mac’s Tusk is seen as weak compared with the faultless Rumours. Tusk followed Rumours and, considering the tensions within the band during that album: few would blame them for producing something lesser and unfocused. As it was, even as a double-record; the album is triumphant and contains so much variation and quality – standouts include the title-track and Sara. One hears about Rumours but, when addressing Tusk; many feel it is too long, muddled and quality-dry. I feel that is nonsense: immerse yourself in the record and discover a band at the peak of their powers! Blur’s Think Tank was released in 2003 and suffered a few problems. There were few who expected the group to continue as a unit. After 1999’s underwhelming  13 - and the ‘best of’ the following year – that was seen as that, really.

Think Tank saw tensions and strains in the ranks; Graham Coxon walked out long before completion and (Think Tank) saw Damon Albarn assume new roles – taking on guitar duties for most tracks. Like Radiohead’s Hail to the Thief; Think Tank sports a marvellous opening duo: Ambulance is a beats-heavy, evocative piece of immersive brilliance; Out of Time blissed-out, sweet-leaf and disembodied. Apart from the zany, processed vocals on Crazy Beat – most of the songs on the album are stunners. Brothers and Sisters name-checks drugs and addictions (how we are hooked on various substances) whilst Caravan features ‘gloom tubes’ and is a sensual, body-transcending experience. We’ve Got a File on You is a sixty-two second Ramones blast; Good Song and Sweet Song are named appropriately – Jets is, perhaps, a little overlong. Some critics felt the disharmony fractured the creative process; Albarn going a bit crazy and indulging his various whims. He was taking from African music and influenced by new sounds – whereas previous Blur records took from U.S. guitar and British Pop.

Nirvana’s In Utero is often seen as the inferior successor to Nevermind. That record was a commercial runaway and megalith of success – In Utero a more subdued, tangled and raw effort. In Utero is (was) Nirvana returning to their roots; penning an album free from polish that did not aim for the charts and singalong crowds. It is a sharper and more abrasive beast. The three boys – Dave Grohl, Kurt Cobain and Krist Novoselic – were turned up to eleven and on fire! Scentless Apprentice, Very Ape (much-aped and sampled); Rape Me and Heart-Shaped Box are all insane and wonderful. There are, yeah, a couple of dodgy scrapes among the pack – Tourette’s among them – but there are out-and-out classics abound! Joni Mitchell’s Clouds is a record overlooked when compared to her best work. People do not really talk about it with the same sigh-and-adore as Blue and Ladies of the Canyon. Ladies of the Canyon was released in 1970; Clouds the year before. In any case; it was a hell of a two-year period for the songwriter. 1971’s Blue would take her to another level! Clouds has Both Sides, Now and Chelsea Morning; Tin Angel and Roses Blue. There are so many other albums I was going to include in this piece. They range from those many assume tragic (Spiceworld) to classics you do not hear about too much in 2018 (Led Zeppelin III and Songs in the Key of Life) – it is a shame so many were not recognised at the time; others have faded from the mind and deserve a dusting off!

I would be interested to hear what others think because, in my mind, there are dozens of albums that were either underrated at the time or, over time, have lost influence. I am revisiting records from Ramones and Destiny’s Child. There is no link between them but both could spearhead much-needed movements: the former could help bolster the Punk movement and great Alternative bands of today; the latter could inspire a new legion of girl groups…those concerned with writing bangers as opposed being led and moulded by others. If you favour Bon Jovi’s Slippery When Wet or the endless fascination of The Stone Roses’ debut – there is validity and cause to argue they need more attention and respect now. We often cling to classics and what others deem to be the ‘best’. Many albums are underrated upon release and only pick up (justified) acclaim after the fact. I guess one can argue it is subjective arguing why a certain album is underrated - that is true but that does not diminish the argument. There are certain albums that, regardless of whether you are a fan, should have a higher place in music’s legacy. Tusk and Clouds are two albums that deserve it; Think Tank and Hail to the Thief two more-modern examples – those, at the very least, are far better than many gave them credit for!

I will leave it here but, as I say: what are the albums, you feel, were overlooked and underrated when they were released? One can argue The Beatles’ debut is not seen as a true classic. It is a scrappy thing and, as such, not regarded as highly as Revolver and Sgt. Pepper’s Lonely Hearts Club Band. Please Please Me is The Beatles at their most basic and uncomplicated. It is them recording an album of set inclusions – what they were performing live at the time. It is not as staggering as their later work but, as an example of how inspirational and exhilarating they were; you cannot deny it is a fantastic achievement. I have been thinking, too, about D’Angelo and the Vanguard’s 2004 masterpiece, Black Messiah. That is not only considered one the best Funk/R&B albums of the decade: many see it as one of the finest albums of the past twenty years. It is a masterful album that addresses faith, rebirth and politics; black-rights, love and injustice. Black Messiah is hardly talked about today! At a time where we need leaders and inspirational music – maybe a reinvestigation of that record is warranted?! I will leave things there because, I appreciate…it has been a long day. I wanted to look at some albums that have received damp praise (compared to what they deserved) and why they should be re-examined. The last one I will throw in is the super-mega-duper Debut - by the peerless and always-awesome Björk. Some do not rate it as highly as albums like Post and Vespertine. I feel Debut is the Icelandic innovator at her explosive best. From Human Behaviour's nervy and tribal-drummed bellicose; the rapture and ecstasy that runs through songs (like that and) Violently Happy; the allure and beauty of Venus as a Boy; the huge chorus and Dance bliss of Big Time Sensuality - it a sensational album from start to finish! Everyone will have their opinion on the matter – it would be good to know which albums others consider underrated. If you do have a particular ‘favourite’ that has been buried in the annals of near-obscurity; make sure you pick it back up, put it on...

IN THIS IMAGE: The cover for Björk's album, Debut

AND let people know how good it is!

FEATURE: I Heard a Bird Twitter in Berkeley Square: Are Some Artists Neglecting the Most Important Social Media Tool of All?

FEATURE:

 

I Heard a Bird Twitter in Berkeley Square

 ALL PHOTOS: Unsplash

Are Some Artists Neglecting the Most Important Social Media Tool of All?

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I raised an interesting point on Facebook…

a few days back. It might not have been a calm discussion: more, a coruscating rant against musicians who do not have a Twitter account. It seems, in this day and age, every musician would understand the importance of the platform! Other people made some counter-arguments. They, for one reason or the other, do not use the service. Perhaps they are not getting true value from the site. It is only legitimate and worthwhile if you can get your music out to the people. If you float a profile out there; leave it a while and nobody comes your way – the temptation to leave the site is fair enough. Twitter is a site that appeals to those who want to get their music out to fellow artists, labels and radio stations as quickly as possible. I feel Facebook is more useful for personal interaction – it is less effective regarding music promotion and spreading material. I use Facebook for my music work but it is merely there for my contacts. Little of my work is shared and I know there is a limited scope. I can post a review or article and, unless someone shares it; it is hard knowing how far it goes. It takes longer to share work on Facebook – a few seconds but still a little heftier – and I prefer the speed and brevity of Twitter. I can put an article out there and tag in all the artists I want. It is out there on the page and it looks good. I have more contacts on Twitter and it is a lot easier to connect with others.

You cannot force people to follow you but it is a lot easier to follow others – few ask for permission and it is simpler building relationships. Facebook is better for messaging and bonding in a deeper way – although you might not personally know a lot of the people you are messaging. Twitter, to me, is a business tool: music is as much a business as it is a career/passion. If you want to get your music to the world and build a decent fanbase – surely one cannot ignore the powers of Twitter?! This is my assumption on the matter – I know others disagree and there is a debate. Twitter is a communication call and one that, if used sagely and effectively, can do wonders. The reason I was so perturbed the other day was because of an interview I conducted. I took the band on – I get so many requests and feel no reason to turn many down – and, without thinking, ploughed on with the piece. I knew they had a Facebook page but could not see a Twitter page listed in the bio. I assumed the P.R. company missed it out – they are not always helpful when it comes to logical aspects – and I had every faith I would find one! I looked and checked and, after confirming it with the agency; they revealed the truth: the band do not want to be on Twitter!

I found this somewhat baffling. Even if you are starting out in the industry; why would you ignore Twitter? I can understand a lack of Instagram visibility. I do not have an account and neither do I need one – nobody needs to see my face or chart my goings on beyond what I post on my blog. I do not record music so, for the most part, I use Twitter and Facebook. As the blog becomes more wide-ranging, I will change this. I will bring in a YouTube account and, perhaps, SoundCloud. There are bands who do not want to be exposed and too visible. Some, cool and edgy, see Twitter as another step towards commercialism and corporatism. If they want to do that then they know the risks. Some find greater value in Facebook and word-of-mouth. I cannot understand that assumption. Facebook is not nearly as powerful and accessible as Twitter; it is harder to connect with music professionals and more difficult to recruit a massive amount of followers. All of the opportunities and breaks I have had the past couple of years came from Twitter. I wrote a piece on BBC Radio 6 Music and shared it with the station – tagging in several D.J.s and producers. The fact I did that meant it got ‘likes’; it was shared and commented on by those D.J.s – followers of those people commented and, before long, the article was extended from various tentacles. It was a big moment and one that could not have happened without Twitter! From that one post; I got to meet Matt Everitt – a music news reporter for the station – and given invaluable advice.

I have been on the site for years but did not need to be: I could have posted that article five years ago and would have the same result. I have been contacted by musicians and gained so many opportunities from my time on Twitter. I have a lot of followers and, every time I review/interview an artist; new people see my work and join the ‘flock’. It means I have artists I can contact for work and more who see my work. For musicians; even at the very start – where they have no followers – they can follow similar artist and labels. Before long, they will get people into the tent and their foundations will expand. It took me a long time to get where I am but I have a long way to go. I feel a lot of the cynicism stems around patience and not getting far ahead right away. The band I reviewed had no excuse for ignoring Twitter. Their music is missing out on a huge market: included in there are radio stations, big artists and who knows what! The fact my interview was published and, surprisingly, ignored and fell down a hole was inevitable. If the band is unable to see it on Twitter then it will not get shared and promoted. There is no risk to having a Twitter account. One does not need to pay and it is easy to operate. The fact you can easily connect with so many others freely is a luxury Facebook does not have. You can message people but getting in front of them is not nearly as easy as Twitter.

I can see how some might overlook Twitter. If you are a big artist then you might not need the constant work and effort needed to keep the profile relevant and active. The site is best for those new and upcoming musicians who want find fans and ensure their work gets seen around the world. Facebook is becoming more advert-driven and profit-seeking than ever before. In order to get my posts beyond the walls of my profile; I have to ‘boost’ my profile – pay Facebook to share it with random people. That might generate a few more views but, in reality, it is not as controlled and logical as Twitter – I have no idea who the piece is going out to and whether they are actually reading it. Throw in the fact I have to PAY to do that means I am reluctant to do it for some of the more minor pieces. Twitter is a much more cooperative and reciprocal vessel (compared with Facebook). It is said one-fifth of those you follow will follow you back: that gets larger as you become more popular. People do not like being bothered on Facebook. I try and add various people as ‘friends’ – music-related and to further my work – and they either reject the request or ignore stuff I post.

I try to limit my posts to a few each day. If you do more then people will not be interested and start to get annoyed – this spam approach to social media leads to exodus and irritation. Twitter works the same, I’ll grant you – the fact the average tweet is shorter than a Facebook page makes it less irksome. Different people, depending on the style of music they play and what section of the industry they work, will have their preferences. My argument is not that you should ban Facebook and only use Twitter: I am stating you should use BOTH. I can see other people’s arguments for preferring Facebook – more personal and they prefer its interface. Even if you find a preference in one site; how does that translate into ignorance of another?! If you want to get as far as possible in music then you need to use both and ensure you get the most out of them. That might mean a low-level Twitter coverage and occasional tweets. There is no real rational reason for ignoring Twitter. It might not be as beneficial and profitable as you’d hoped – that does not mean it is worthless. There are great sites that musicians should consult if they want to make the most of Twitter. Here is one...and here is another. Take a look here, too.

The best article I have discovered is this one from Readwrite. The writer talks about the way Twitter connects fans with artists

“The biggest and most obvious advantage of using Twitter for artists is the ability it offers them to engage directly with fans. This is something Amanda Palmer has become quite well-known for among those that follow her. The Boston-based musician and member of The Dresden Dolls is described as a “Twitter ninja” on Twitter’s official guide for musicians and is generally recognized as one of more active and engaging musicians using the service.

Not only does Palmer chats back and forth with fans but she eagerly seeks their input on things like songwriting and t-shirt design”.

It went on to look at the ‘value’ of Twitter and get the best from it:

“Everybody says social media is important, but does putting in the effort actually pay off? It depends on what one’s definition of “value” is and, of course, on who the artist is and what they’re approach to social networking happens to be.

As with most forms of social marketing, the primary value here is in building up one’s brand and establishing a line of communication with customers – in this case, music fans. It may not lead immediately to an increase in record sales or concert attendees, but the act of cultivating those relationships over time will probably increase the likelihood of fans coming out to show or buying a record”.

I have my preference and I can understand why SOME people would prefer Facebook. For artists who want quick access and communication; those who want to find like-minded followers – without bothering people looking for a personal space – should always flock to Twitter. There are natural downsides to the site. It can be expensive to market your work and there is no real messenger service. I never use the site to quickly message someone and chat: I use it to put posts out there and share other people’s work. That is my point, mind you. I have Facebook for personal needs and sharing work with people I know well. Twitter is there to get a bigger audience among people I know less well. Having both options helps me get my work to as many as possible – it would be nice if there was a bespoke music social media tool that could assimilate the two big sites and go even further. I cannot fathom those who ignore Twitter and feel it will provide little use. It would do something for everyone who uses it! If you want to get far in the industry and capitalise on the wealth of professionals and like-minded souls out there; Twitter is the easiest, fastest and best-configured site for that! At the very least, using Facebook more than Twitter – but not ignoring the latter – is a compromise. Anyone who completely overlooks Twitter and feels they are better off without it are going to…

LOSE a lot more than they gain.

FEATURE: Spotlight: Shame

FEATURE:

 

Spotlight

  PHOTO CREDIT: Loud and Quiet Magazine

Shame

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EVERY time I tackle this feature…

PHOTO CREDIT: Africa Pombo

I learn something new about the band/artist concerned. Shame are on the block and with good reason: they are one of the most compelling and demanded bands of the moment. I have listed them (in the past) alongside peers such as Cabbage and IDLES: a couple of young bands amazing critics and fans with their honest and stunning music. They all talk about the experiences of modern life and what it is like for them. There are no pretences and egos: the bands produce music that is natural to them; designed to inspire listeners and get them involved. Shame are a band who look at love and the unpredictability of daily life in a fresh, humour and personal way. The boys are signed to Dead Oceans and based out of South London. I said I was going to get away from the capital a bit and look at other areas. It is inevitable I would return there at some point. Whilst I think the North is a more prosperous and promising area when it comes to the new bands with a unique and promising bent. That is not to say London is infertile and meagre. Shame prove there is a lot of strength and inspiration in the capital’s waters. The boys were touched and saddened by the death of The Fall’s Mark E. Smith. It is unsurprising considering the comparisons between the two...

PHOTO CREDIT: Holly Whitaker Photography

The Fall’s leader was a master when it came to those witty and sardonic tracks whose music sounded like nothing else out there. Shame will not reach the heights of The Fall: they are making strides regards distinguishing themselves from the pack and creating something wonderful. I can hear some of Smith’s candour and accent in the music of Shame. In a world where bands have less of a market share than past years; there are fewer great bands than there were years ago – it is hard making a mark and getting the critics’ attention. Anyone feeling sorry for the band should remember one thing: they are currently in Australia and, from the looks of things, enjoy the hot weather, tepid beer and general coolness. Between jumping into hot pools and downing some cold ones – the guys will play some gigs and, you know, generally rock the Australian public! The band have already sold out Electric Ballroom (London) later this year. They are playing London gigs in April and, between now and then, taking their music around the world. The demand is coming in and the boys busy – consider their album, Songs of Praise, and that can hardly take you by surprise. I was expecting a recreation of our oldest-running Sunday T.V. shows – a lot of choral singing and bewildered old people bleating on about God. In fact; I am glad we did not get anything vaguely ecumenical and religious (the cover for the album reminds me of The Beach Boys’ Pet Sounds).

PHOTO CREDIT: Getty Images

Pitchfork, when reviewing the album, stated the following:

“…But in their fight to distinguish themselves from every other white male British guitar band, Shame imbue their post-adolescent rage with wit and, crucially, an awareness that they may never succeed. From the opening murky “Dust on Trial,” frontman Charlie Steen is fixed on the idea of remaining unheard: “What’s the point of talking if all your words have been said?” He preempts the inevitability that British critics will herald them as saviors of the scene by rejecting the construct. “The idea of a rock star is offensive,” he told the Guardian in a profile that was splashed across the paper’s front page”.

Look closely at that Guardian profile and one hears a band who do not want to be seen as Rockstars and idols. They want to affect and influence – without compromising credibility and their purity. There are background snippets and quotations that really stand out. In terms of their formation and beginnings (when asking drummer Charlie Forbes):

“Shame formed around the Queen’s Head pub in Brixton, the former headquarters of the Fat White Family. Forbes’s dad was a friend of the landlord, who let the young band rehearse in an upstairs room (“Every day,” Forbes says. “Just hop on the bus to the after school club”). There they met assorted luminaries and recidivists of the south London music scene, but managed to avoid the worst excesses of the Fat Whites and their friends, largely through being too young to realise they were hanging around with committed hard drug users (“We were oblivious,” Forbes says).

They stumbled over lucky break after lucky break. Not just getting a free rehearsal space for 15 months, until the Queen’s Head was converted into a gastropub, but meeting people who then gave them studio space, and getting free advice from musicians who had been chewed up and spat out by major labels. What they learned was the importance of keeping as much control as possible over their decisions, which led them to sign to indie imprint Dead Oceans for their debut album, Songs of Praise. They also think the very grime of the Queen’s Head shaped them into being Shame: “I don’t think if we had started in a squeaky clean studio it would have been the same,” Forbes says”.

 Frontman Charlie Steen offered some advice and concern when it comes to that Rockstar lifestyle:

“That lifestyle could only exist because of money. Bands can’t go out now and get a kilo of coke or drive to Las Vegas in a Ferrari. Now it’s get a gram of speed and sit in a Travelodge. That’s the reality of it.”

The guys were part of the clique that bonded HMLTD, Goat Girl and Dead. The South London bands transcend the image of modern-day bands. They project a more realistic and exciting brand of music. They do not want the trappings and riches of a style of life many chase – those with perfect teeth and hair that get laid every night and lust after the spotlight. Shame have laid into the Conservatives and the manner in which they are ‘running’ (or ‘ruining’) this country. They have seen what P.M. May is doing and attacked her form of government. Our leaders are not really here to serve the masses: Shame know this and project that dissatisfaction and rebellion through their music. Songs of Praise is filled with songs that talk about youthful existence and the way the country can improve; why we all need to band together. It is appropriate a band who wants to bond the masses should give their album that religious-homonymic potential: pastors who see the darkness around them and want to do something about it. Their start was modest and they relied on advice from musicians and any chance they had to get into a rehearsal space. The fact they have got a deal and are touring the world is as a result of great music and constant graft. The band has that working-class ethic that means they are going to turn down big-money deals and corporate sponsorship.

They refute that gaudy and vile life where their faces will be plastered on billboards and they are hocking every gadget and service they are offered. They want to remain rooted and balk at the idea of becoming big-league stars. Whilst they would never exclude fans of a certain class/political persuasion – one feels they would dissolve a Conservative member/politician if they were within spitting distance of their gigs – you feel this is all about the music. The guys are all about the energy of performance and getting their sounds to people. They are, in a way, political crusaders who are providing something deeper and inspiring. Last year saw the flourishes and bloom of their early-career gestation. They were a new name and, pre-album, a popular force. They toured around Europe and, between dark nights in vans and eating anything that looked vaguely palatable – that lifestyle took its toll and their health was affected. Steen had panic attacks and was vomiting frequently. The riotous and exhausting touring schedule meant there was a natural end: they had to cancel some gigs because of Steen’s ill health. There are worries the popularity and reception afforded Songs of Praise could do even more damage. The guys are in Australia and are back in the U.K. before too long. They will tackle festivals and various nations; they have a long gig schedule and will have few days off between dates. I have quoted a lot from others but the truth is this: the band mean business and have a long career ahead of them. I hope the success and increased pressure does not see them abandon their ideals of naturalness and rejection of superstardom. The more celebrated they become; the harder it is to maintain that working-class, grounded persona. I know they will do their best: creating albums like Songs of Praise will see them maintain that balance of credibility and popularity. You urge them to succeed and look to see where they go next; we wait to see how good they can get and how they lead the scene. They have had a hard road and overcome obstacles along the way. Their success is deserved – so you cannot really deny them their acclaim and position. As they wake up in the warmth and scenic wonder of Australia it makes you realise what…

PHOTO CREDIT: Shame

JAMMY bastards they are!

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Follow Shame

PHOTO CREDIT: Pooneh Ghan

Official:

http://shame.world/

Facebook:

https://www.facebook.com/shamebanduk/

Twitter:

https://twitter.com/shamebanduk

Instagram:

https://www.instagram.com/shame/

Spotify:

https://open.spotify.com/artist/4IeWU3NYBI9mISFVhzXG8f

YouTube:

https://www.youtube.com/channel/UCEzHSKr1_q55AhwaGpkP5xQ

INTERVIEW: DEMAR

INTERVIEW:

DEMAR

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ONE of my favourite places to visit is…

the city of New York. I have never physically been there: I have learnt a lot about the people and place through the musicians I interview. DEMAR talks to me about her E.P., Rebels, and the stories that go into it. I ask her about the song, Not Afraid – it is a standout whose background I was keen to discover. She tells me about future gig plans and whether there will be new material – and whether we can expect to see her in the U.K. soon.

DEMAR discusses her upbringing and the music she was raised on; the albums that mean the most to her; how the scene in New York differs from that in Florida (where she started life); if she was surprised by the reaction to her cover of Kendrick Lamar’s Swimming Pools (Drank) – she provides advice for new artists emerging.

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

Hello! I’m doing great, thanks. This week has been incredible. I just finished my first tour supporting Howie Day. It was so fun meeting new people and playing for new ears.

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

Sure! I’m DEMAR; a singer-songwriter from Miami, FL. I’ve lived in N.Y.C. for about four years and play shows around the city pretty regularly. I would describe my music as Alternative-Pop: a bit moody with some R&B flavour.

Rebels is your new E.P. Can you tell me about the subjects and inspirations that go into it?

Rebels tells the story of a relationship I experienced that was pretty intense and had a lot of ups and downs. It was really draining and definitely took a toll on me - until I finally decided to walk away. The E.P. explores the different sides of the relationship - and how messy it can be when you’re so drawn to someone but so damaged by them at the same time.

I am especially interested in the song, Not Afraid. It is one of the most emotive and touching songs on the E.P. Is there a story behind that song?

Thank you! That means a lot that you connect with the song. Not Afraid was one of the easiest songs for me to write because the lyrics kind of poured out of me - but it’s been one of the most difficult to share with people because it’s so self-reflective. The song touches on how much control this person had over my thoughts and emotions: the smallest action of his would dictate my emotional state for the next week or more.

It also talks about how in a way I feel drawn to that sadness and I’m not afraid of it. As long as living that way meant I was with him, I was ok with it. That’s a scary thing to admit to yourself, let alone other people.

Your cover of Kendrick Lamar’s Swimming Pools (Drank) went viral last year. Were you surprised by the reaction it got?

I definitely was taken aback by the reaction. When I recorded it, I wasn’t thinking about it reaching people at all: I just did it because it was fun and I love the song. But, the love people have for it is an added bonus!

New York City is your base. What is the city like for a new artist? Are there particular venues you love to play there?

I think New York City is the best place to be if you’re a new artist and trying to find your footing in the industry. There is so much opportunity here and so many great people you can meet just by being present in the scene. Some of my favorite places to play in the city are Pianos and Rockwood.

They’re both great venues.

How does it differ from Florida – where you were raised? Is it a lot more exciting and ‘you’ in New York?

Miami and N.Y.C. are extremely different; totally different lifestyles, people and surroundings. I will always love Miami because it’s home - but New York suits my lifestyle much more. There is more opportunity here for artists and songwriters. The craziness of the city used to get to me but now I’ve become used to it.

I still escape to Miami every couple months for a weekend, though.

You spent time in London. What was the decision for moving there – and what was it that forced you back to the States?

I moved to London because I wanted to experience something out of my comfort-zone and put myself in a place I would grow as a person and an artist. I always knew I would love London - and moving to another country by myself was scary and exciting. I absolutely loved my time there and it helped shape me as a songwriter and as a person. I eventually had to move back because my Visa expired. Otherwise, I would probably still be there! It’s still my favourite place I’ve ever been to...

It still feels surreal that I was lucky enough to have that experience.

You worked with Ben Hobbs whilst you were here – and a lot of other talented folks. Do you see yourself coming back here? Do you love the music of Britain?

I’ve been so fortunate to work with Ben Hobbs. He’s really talented - and I feel like we’re always on the same page. He gets exactly what my music is about and the sound that I’m going for. I will actually be back in London for about a week in July and can’t wait! It’s been too long. I LOVE so many British artists from Rock to Hip-Hop/R&B to the poppiest of Pop - and I’m hoping to catch some of them in concert while I’m there.

Give me a sense of the artists you were raised on. Who were your early heroes and heroines?

I was raised on a wide variety of artists - which definitely shaped the range of influences I pull from in my own music. My dad’s favourite band is Steely Dan; so I grew up on them and that’s where I formed my love of harmonies and that layered sound that they so perfectly crafted. When I was young, I also loved the Spice Girls (obviously) and artists like Aaliyah and J. Lo - which influenced the confidence and sassiness I inject in some of my songs.

Adele and Joy Williams from The Civil Wars influenced the bit of soul and emotion I put into my music.

IN THIS PHOTO: The Aces

Who are the new artists you recommend we check out?

Someone I can’t stop listening to right now is The Aces. They are great. I love their music, their look…everything. Their music is infectious and catchy but has a Rock feel to it - and they’re effortlessly cool. I also really love an artist called pronoun. She’s got Emo/Indie-Pop down to a science - and kills it on every song.

Also, check out Frances Cone. Their song, Unraveling, makes me cry every time I listen to it.

IN THIS PHOTO: Frances Cone

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

This is such a tough question…

One is Phantoms by Acceptance

They were one of my favorite bands in high-school and really influenced me regards wanting to write songs. That album is still one of my all-time favorites.

Second would be Born to Die by Lana Del Rey

I listened to that album so much before I started writing my E.P. and really connected to so many of the songs.

I think the third would be 21 by Adele

Every song on that album is perfect. When I was going through the relationship I wrote the E.P. about; I listened to 21 all the time.

What advice would you give to artists coming through right now?

I don’t know how qualified I am to give advice…but I guess I would say you really need to know yourself; who you are as an artist and a person before you get into this - because there are people who will try to impose on you what they think you should be.

It’s easy to be influenced by that.

Where can we see you play this year? What dates do you have coming up?

I just finished the Howie Day tour. I’m playing a show in N.Y.C. on Feb 8th and working on some other dates and possible tours. Stay tuned and follow my social media for those announcements! My Instagram and Twitter are @demarmusic and my Facebook is ‘Demar’.

Do you have plans for 2018 already? Is there any new material in your mind?

I’m always writing and am starting to work on new songs. I don’t know yet if that will be another E.P. or a full-length but, right now, I’m just going to work on music and see where it takes me. I have a music video coming very soon and more live videos coming!

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

Hmmmm…El Amante by Nicky Jam. One of my favorites!

_______

Follow DEMAR

Official:

http://www.demarmusic.com/

Facebook:

https://www.facebook.com/demarmusicofficial

Twitter:

https://twitter.com/demarmusic

Instagram:

https://www.instagram.com/kendrick_demar/

Spotify:

https://open.spotify.com/artist/4LNxYyiiVMZU7dwe7Pwhmq

SoundCloud:

https://soundcloud.com/demarmusic

YouTube:

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

FEATURE: The February Playlist: Vol.1: CHVRCHES That Welcome Us In

FEATURE:

 

The February Playlist

 IN THIS PHOTO: CHVRCHES/PHOTO CREDIT: Danny Clinch   

Vol.1: CHVRCHES That Welcome Us In

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THERE are some great songs out this week…

IN THIS PHOTO: Let's Eat Grandma

that appeals to those of all tastes and demands. CHVRCHES are back with a new track, Get Out; Moby brings new treasure - whilst videos from Gaz Coombes, Kylie Minogue and Andrew W.K. are out. Alongside is some fresh material from Let’s Eat Grandma and Soccer Mommy; Pale Waves, Rae Morris and Field Music.

It is another sizzling list of musical delights that warms the blood and nourishes the mind. I am excited seeing how February shapes up and what is coming our way – music is showing, every week, it is capable of stunning, surprising and seducing.

ALL PHOTOS (unless credited otherwise): Getty Images

________

 CHVRCHES - Get Out

Let’s Eat Grandma – Hot Pink

Soccer Mommy – Cool

 

Hookworms – Each Time We Pass

Andrew W.K. – Ever Again

Moby – Mere Anarchy

Lilla Vargen – Believe Me

Deap Vally – Two Seat Bike

 PHOTO CREDIT: Laura E. Partai

Courtney Marie Andrews – Kindness of Strangers

Erasure – Still It’s Not Over

Lauren Auder – These Broken Limbs Again Into One Body

ARTWORK CREDIT: David Sessions

Marcus Marr – Familiar Five

PHOTO CREDIT: J. Konrad Schmidt

Sam Vance-Law – Gayby

Iggy Azalea (ft. Quavo) – Savior

Jennifer Lopez – Us

Busta Rhymes, Missy Elliott and Kelly Rowland – Get It

 

Pale Waves – The Tide

Sasha Sloan – Fall

Ferris & Sylvester - Sometimes

Gaz Coombes – Deep Pockets

Frank Turner – 1933

The Streets – If You Ever Need to Talk I’m Here

Harper – Running Underwater

Ms Banks – Come Thru

Tove Styrke – Changed My Mind

Justin Timberlake – Man of the Woods

Poppy Ackroyd – Resolve

The Weeknd, Kendrick Lamar - Pray for Me

Kojo Funds (ft. RAYE) – Check

PHOTO CREDIT: Milly Hutchcraft

 Llovers – Just Just

Millie Turner – The Shadow

 

Rae Morris – Wait for the Rain

Kylie Minogue – Dancing

 

Rhye – Summer Days

PHOTO CREDIT: Pablo Arroyo

Lykke Li – Time in a Bottle

Migos – Stir Fry

Field Music – Cameraman

TRACK REVIEW: Screech Bats: Get Better

TRACK REVIEW:

 

Screech Bats

Get Better

9.5/10

Get Better is available via:

https://soundcloud.com/screech-bats/get-better

GENRES:

Rock; Alternative; Punk

ORIGIN:

London, U.K.

RELEASE DATE:

31st January, 2018

The E.P., Wish You Were Her, is available from 30th March. Pre-order via:

http://screechbats.bigcartel.com/product/wish-you-were-her-screech-bats-ep-2

_________

SOMETHING wonderful is happening in music...

PHOTO CREDIT: @del-photos

at this very moment. In fact, there are quite a few wonderful things occurring that make me feel hopeful about the future. That might sound vague – so let me explain...I will come to the wonders of Screech Bats in a moment but, when thinking of them; I think about the great female bands of the moment - and how they attack stereotypes and discrimination. I want to investigate independent venues and how, especially this week, they are under the spotlight and being celebrated – and mean a lot to newer bands like Screech Bats. From there, I will talk about bands that have a rawer sound and write about meaningful subjects; a look at connections and closeness within the ranks; differing from the commercial grain to provide the listener something more exciting and prosperous; a small nod regarding heart-on-sleeve songwriting – ending with a chat about recording processes and adopting a new way of working. Esme Baker (Vocals), Lexi Clark (Drum); Rio Hellyer (Bass) and Kit Reeve (Guitar) compromise the exhilarating and explosive Screech Bats. It is odd how we categorise band and how, in this time, we do not seem that far evolved regards labelling and respect. By that; I mean many – critics, fans and the like – call any band without penises ‘girl bands’. That may be factually true: but what is wrong with dropping the ‘girl’ part?! I listen to a lot of music but, among my nostalgic favourites are En Vogue, Destiny’s Child and TLC. They are, again, compromised of women but there seems to be something rather patronising about the tag of ‘girl band’. They are seen as a homunculus and lesser; a cute and pink-coloured proposition that, bless them, are making music with the boys. Screech Bats (rightfully) refute that label and see themselves as what they are: a kick-ass band that can mix it with the best of them.

PHOTO CREDIT: Derek Bremner

That is something modern music needs to get out of: sexism and the way we, for no reason, compartmentalise women and men; so that the latter gets the spotlight and attention; the former still has to fight to gain parity (little sense of) and respect. I am avowedly committed to raising my voice in a quiet congregation. There are many male journalists out there but, in truth, how many are actively writing about sexism in the industry?! It is a topic I have covered in depth – but it always annoys me how now, in 2018, we are still lacking necessary progression and consciousness. A lot of great new artists are being overlooked because of their gender. Screech Bats address and confront a lot of issues through their music. They are getting gigs and recognition but I feel, because of the way the industry is set up; how long it will take them to ascend to the bigger stages – compared to a similar, like-minded male band. I will talk about some gigs they have coming up – and why everyone should come and see them – but I am seeing a lot of female groups that are producing exceptional material. Whether it is dreamy, Folk-led harmonies or delicate Pop fusions; harder, spikier Punk or the sort of U.S./U.K., Rock/Alternative concoctions of Screech Bats – there is a lot to be excited about. I have always preferred female musicians because there is a depth and sense of innovation the guys lack. That might be a generalisation but I listen to everyone from Hannah Peel to Sleater-Kinney and am amazed at their dexterity. There are female-only festivals available out there but I wonder whether the solution – when it comes to showcasing the best female artists – is a simpler one: dropping the gender tag and assessing music…and nothing else. We should have a gender-neutral, fluid industry that supports every artist on their own terms – regardless of their gender, sexual orientation or race. I am proposing a system/government for music and, without boring you with the details, would hire specific people to tackle everything from sexism to the threats placed on small venues. In any case, getting back on the tracks; bands like Screech Bats show how stupefying and unevolved sexist attitudes are.

This week is Independent Venue Week and, as such, there has been fevered passion placed on the best spaces out there. I have been tuning into BBC Radio 6 Music and their celebration of independent venues. Steve Lamacq’s afternoon show (1-4 P.M.) has been broadcast from a new venue each week including Boileroom - where Screech Bats have a special connection to – and it has been illuminating. I was tuned in yesterday when Lammo was at Liverpool’s Parr Street. He spoke with IDLES – who played a stunning set there – and the guy who runs the joint. They spoke about the need to preserve these spaces and how, for many, it is a sociability and sense of understanding they cannot get anywhere else. That goes for musicians and the punters who come down. I am fearful there is not enough being done to safeguard the great venues around the nation – going back to that government idea… - and it threatens to cut short the careers of some sensational artists. Screech Bats have some wonderful gigs coming up but the way they cut their teeth and develop their craft is these venues. They have enjoyed hotly-received gigs in venues designed to showcase and support upcoming artists. If their lifespan is questioned and they have to battle to keep the doors open – what sort of damage will that do to the music industry?! It is, in a way, a sort of global warming: the solid foundations and fauna that makes the world beautiful will wilt, crumble and melt. It is shocking seeing so many wonderful venues close because of various reasons – either noise complaints, underfunding or fewer people attending in a time where we spend our evenings on a laptop. The reason I raise this point is because Screech Bats are the sort of act you want to see go all the way. They have a live energy and set that blows the cobwebs away and provides a captivating memory. Led by the scintillating and nuanced voice of Esme Baker; the band are as tight and in-tune as any I have heard.

There is a closeness and understanding that makes every song strike and lodge in the brain. They will go to play some huge venues in time – and I know they will headline a major festival in years to come – but the only way they can get there is these smaller locations. I wonder whether our Government are aware of the live music scene and how wonderful it is. They are probably more into Classical music and spend their evenings cosied up with a nice documentary about Vera Lynn. Not that this is a bad thing – she is a legend! – but they are so detached from reality and why we need to do everything we can to secure live venues. Screech Bats are among the best live performers around and always treat their audience to a seriously awesome show. I wonder whether they fancy and lure after the openness and mass-capacity venues: maybe they will continue to bring their music to the best small venues out there. We need to get out of the mind-space of calling female bands ‘girl groups’ – the new Spice Girls ‘reunion’ will hardly help! – and offer more female artists time at these venues. I study the bills of the venues around the country and there is still the dependence on male bands and artists. I wonder whether there is that assumption male artists are more profitable and commercial. As their E.P. looms, more later; the exceptional Screech Bats will be plotting new moves and a fulsome, adventurous summer. I know their talent and determination will get them to the top but they raise issues more of us need to investigate and challenge. It is hard enough (for female groups) to get recognition on their own terms – and avoid being seen as lesser beings – but that is triplicate when you throw in the sort of threats being levied at small venues. In any case; the wonderful quartet gives me a reason to believe they will be huge fixtures in years to come.

PHOTO CREDIT: Derek Bremner

I have spoken about the tightness and sisterly bond within the ranks. Their sounds are raw and exciting but there is plenty of depth and intelligence in the music. I hear a lot of harder, dial-turned-way-up bands who lack substance and are designed to get crowds thrashing around and not take anything away. Don’t get me wrong: I love bands that can get the juices flowing and get the fists pumping. There is something primeval and unbeatable about that sense of belonging and community – everyone bonded in a venue; a helix of grit, swagger and imminent detonation bringing us to the point of ecstasy. If you can translate that to tape then that is something rather special. I am always drawn to bolder, louder artists but, as I get older; I find myself looking for something more meaningful and personal. I grew up listening to the likes of Soundgarden, Audioslave; Nirvana and Ramones: bands who could create something timeless without being shallow and commercial. They penned songs that addressed deep and important subjects – sometimes harsh and dark – and, as such, resonated hugely. Now, as I mix in classic acts and newer bands (most of them female/female-led); I look to Screech Bats and see a reason why we should highlight them above their peers. Not only do the four-piece have closeness (more on that in a bit) but they manage to blend suggestions of older-days and the new. Bands like Against Me! and Siouxsie Sioux and Ramones; Jimmy Eat World and Cayetana (the Philly Punk band are fairly new onto the scene). I grew up in the 1990s – started life in the 1980s – and was exposed to a mixture of the 1970s Punk pioneers and the Grunge/Alternative legends of the 1990s. It was a heady and revealing education that has stayed with me. I get a sense Screech Bats have a similar authority and passion. You can sense embers of Punk’s past but they have a fondness for U.S. Alternative/Indie bands and fuse that with their own D.N.A. and conjecture.

I know they provide a great live sound: the sound one hears on record retains that raw excitement but brings in other strands and textures. You cannot deny they have a clear connection and respect for one another. The band began life as a side-project – Hearts Under Fire was the band that went on hiatus and, before long, saw them form Screech Bats. Other artists might have drifted apart and lost contact; gone separate ways and formed other groups. That was not the case here. Screech Bats is the result of four women who love spending time together. Baker notes how the rehearsals were a thing of relief and love; they would all look forward to getting in that weekly space and jamming – determined to get some incredible music down and toss ideas around. You know, when hearing them, they will always be together and continue to evolve. There are bands out there where the relationships are quite strained. I can hear it come through clearly. If the members are not all together and focused; it leads to material that sounds sloppy, insincere and distracted. The bands that keep in the mind and propel the heart are those where the members are a unit. There is no weak strand or half-hearted member of Screech Bats: every player has their role and the democratic nature of the group means each is free to express and evolve. Bands who recruit a dictatorial/undemocratic regime means the frontman (usually it is the male bands who are most rigid) and the other members are mere pawns. It is good having a lead songwriter but, if the other members are not allowed a say in the composition and future work – how long will they happily play together? Screech Bats are led by Baker’s creations but, at every stage, there is discussion and assimilation. Clark, Hellyer and Reeve are not shills and silent partners: they are integral to the sound of Screech Bats; helping bring those vital and personal messages to life. The girls have a real love for one another and treat their band as more than music – it is a safe space where they can be open with one another and channel frustrations and revelations through something wonderful.

I will come to the song itself but, before then, I want to look at Esme Baker specifically. I have been reading P.R. material regarding the track, Get Better, and their upcoming E.P., Wish You Were Her. If the latter reminds me of a joke on The Simpsons – Homer sending Marge a bawdy postcard when he was away; cheekily suggesting the busty woman on the postcard is a more attractive spouse – it is a collection of songs that stem from harder times. I will focus on the song in more details soon but, when looking at the tracklisting for the E.P. – it seems like romance, one-night stands and death are working alongside hope, rebuilding and tackling the taboo. The Valentine Song and Just Like You suggest something romance-based and personal; Blood in My Hair and Get Better have their own themes – Every Good Thing, maybe, more redemptive and spirited. The band is not here to be chart puppets who write about love in a very lacklustre and ordinary way. They are unconcerned with the boring, cliché and tired: their music is much more candid and interesting. Baker, herself, has battled with mental-health issues (as have many; as do I) and, in a sense, revealing it through music is brave confession and therapy. She wants to break the taboo and address topics that are cloistered and hidden from the mainstream. As more and more musicians reveal their mental-health struggles; more listeners are seeking out revelation and dialogue through music. She does not write about it in a very disturbed and accusatory manner: the songs are real and open; her heart is out there but, above all, you get truth and guidance from a songwriter who will give heart and hope to many. The same goes for the rest of the band. Their experiences and lives are interwoven into the songs and movements. Throughout the E.P., there will be assessments of one-night stands and relationships running their course; life and death contrast; everything is done with a positive message and sense of renewed purpose.

Wish You Were Her is out on 30th March and follows their 2016 eponymous E.P. Their latest material is their mist confident, mature and impressive. One of the reasons is the way Baker takes off her clothing and reveals scars. She has gone through turbulence and harrowing times and emerged stronger and more resolved. I am not sure whether she is in a much better place now – my interaction has been brief – but I bonded with the songs and the messages coming through. Music is here to heal and educate as much as it is to provide escapism and physical relief. Although my experiences with love/sex are different to those of the band/songwriter – the former more frustrated and dwindling; the latter more monastic and theorised – I can relate to those lines about mental-health and battling demons. I have been walking the black dog for sixteen years and, as much as I want it to do – I know it as much a part of me; a reason why I am creative and live life differently to others. The horrid, sh*tty side of depression might be good for writing and creating: when it comes to relationships and everything else; it can be quite lonesome and hard. Experiencing the worst aspects of the illness – I have been at the point of death a few times – and trying to get people to understand how hard is a constant fight. I know Baker’s experience is different to mine: we have a lot in common, in a lot of ways. I hear her perform personal and troubled lines in a very earnest and unencumbered way. There is too much stigma and taboo attached to subjects like anxiety, depression and mental illness – there is a certain amount of reservation when it comes to sex and passion, for that matter. Music is not an innocent virgin who reads a book by candlelight and is chaste and pure – artists are free to express themselves and not be fearful of repercussion and judgment. As the mental-health crisis expands and becomes a burden – I wonder whether we should still treat the subject as a sitting shiva. We throw drapes over mirrors and, when it comes to ill health and death; we discourage people to look at their reflection – we prefer them to focus on something more ‘dignified’. Massive respect to bands like Screech Bats for providing oxygen and light on the subject.

The thing that hits me about Get Better is, well…the hit. Backed by production values that mean the words are decipherable and passionate – clean enough so they are not mixed down low in the track – but keeping the instruments and microphone dirty; it is a song that takes you by surprise. A lot of Rock/Punk-natured songs are either too lo-fi and undercooked – making it difficult to hear what is going on – or, even worse, it is polished and prim. Production that wears Prada and drinks a mojito is not going to bond well with a (male) core than prefers tattoos, ripped jeans and the work of The Clash – there might be some good sex and fun; it will never lead to anything real and long-lasting. I am going off-track but my point is this: the production perfectly supports the band’s aesthetic and adds new dynamics, layers and colours. Backed by stunning support and incredible musicianship – the percussion is tight, evocative and tough; the bass holds it all together and adds melody and bounce; the guitar is tussling, bruised and snarled – Baker is up-front with a vocal that mixes deeper tones with painful words. It is easy to fall for her voice right from the off. It is so expressive and instant; it is beholden to nobody else and carries so much weight and wonder. The “emptiness” in her soul was part of a conspiracy and crusade loosely tied with string and fraying at the seams. Against the tide and rip-tide notes; Baker lets her voice bounce, protest and crash. Right from the start, she reveals her pains and shows how tough things have been. Rather than dress things in tinsel and project metaphor and innuendo – things are direct, unadorned and direct. Skies once sunny and romantic are black and cloudy; doors once golden and open are black and closed – there is a bit of metaphor, sure, but it is meant to convey the troubled past and how bad things were. One instantly projects themselves into the song and follows the heroine. It is the way Baker projects and delivers her lines that (gets the words) into the head. There is a distinct accent – a slight London twang with, I think, Americanisms in places – that differs from what is out there.

Rather than copy the rather stilted and limited vocals I hear in so many bands: she brings my mind back to the halcyon days of Punk and some of the best new bands of the moment. Whether speaking about herself or a general malaise; there is this figure adorned in white who meets a subject in a nightmare. Maybe it is a therapy setting or a troubled conversation. The heroine casts a tragic and despondent figure that used to possess a certain hope and alacrity. Now, through circumstance and ill fortune; she is a shadow of her former being – tried to battle through the smog and find supportive voices. Whether seeking a softer, tender kiss – a relationship that provides hope – or answers to the quandaries spiralling in her mind – she is pleading and imploring to the ether to deliver clarity. Talk of needles and revelation gets me thinking of medication and counselling. Maybe the injection of medication has brought some stability; the conversations have led to semi-conversion. Know what Baker does for a living (a tattoo artist and studio owner); maybe her work and the way she expresses who she is – through art and design; bonding with like-minded people and etching something profound to the skin – her profession and passion have provided that stability. There is talk of absence and a departed figure. Whether it is a representation of her former self (and a happy guise) or a guy – their loss is causing tears and anxiousness. I feel there is a mixture of the two. The heroine has seen romance go and been let down by men – perhaps the type who do not appreciate who she is and all her wonderful points – but the depression and numbness that she feels requires a more medicinal and productive remedy. The band are incredible throughout and provide ample support for their lead. The strings snap and bark; the percussion and bass work alongside one another and elevate the vocal. Baker is like a “grain of sand lost in the galaxy”. She is keen to reveal her shortcomings – she is not perfect and has been in a bad place – but that is part of being human.

Baker is beating herself up to an extent. Maybe she has been withdrawn and a bit off with people who are there for her. That is understandable given her illness and struggle. Now, with clearer sight and a more positive psyche; she is an available friend and improved – those who have left her have reason to come back and provide another chance. She is, as Get Better implies, improving and determined to get through the storm. She is special and worth a damn; she followed a darkness through corridors and avenues – taking pills and resisting the lure of darkness means things are starting to look up. There is melody and uplift in the composition. The chorus lifts the spirits and, after one listen, sticks in the head. The effusive and positive coda means people will register an instant hit and feel lifted listening to the song. Baker has traversed the quicksand of ill psychology and lost people along the way. Her way with words and images makes the song a more physical and real thing. It is that sentient quality that means you go into the song and follow her every step of the way – letting her know things will be okay and she is closer to perfect than she things. Get Better provides background and revelation; it goes to the confessional booth and does not hold back for the priest. The heroine is brave and resolute through every machination and phase. Whilst an exceptional writer and unique, compelling lead voice – the song depends as heavily on Reeve, Hellyer and Clark. Their support is not a minor role: they heighten every line and provide each emotion Baker sets out to deliver. They have been performing together a long time so know how to connect and deliver a wonderful song. The bass works with the drums and drives the vocal; the guitar works with all three but takes the song in a new direction. It is a four-way unification that not only provides Get Better the strongest, most alluring skin it can – the nuance and depth means listeners will keep coming back for various reasons. The song is indication Screech Bats are among the finest young bands around – and that everyone should get their E.P., Wish You Were Her, on 30th March.

I have talked a lot about the band and what makes them special. Their E.P. was recorded in a Blackpool rehearsal space with James T. Boom (of Sonic Boom Six). Sessions would often start and run through the early-hours and, in a lot of ways, provides a more realistic impression of the E.P. It is harder to convey pain, urgency and a need for rebirth when the sun is out and there are people milling about. After the sun goes down, and the peeps are tucked in bed; the bands plugged in and started work on Wish You Were Her. Get Better is, to me, the core and gravity-centre of the collection. It is a song that will relate to many - but provides others something they have not experienced before. There is too much commercialism in music. This means issues like mental-health and distilled into a cocktail of heartbreak, self-doubt and generic pomp – it is not as raw and focused as it should be. Screech Bats want the positive to override things. They want their listeners to realise things will be okay: that does not mean they turn the listening experience into a PG-13 thing with censored words and softer tones. They talk about sex and men in a very human and honest way; they tackled life and death without being off-putting; the way they look at mental illness will help many and encourage other artists to do likewise. I have talked about sexism and gender labelling in music. I feel we need to get out of this mindset and calling female bands ‘girl bands’. That might sound like a narrow distinction but there is something Pop-based and juvenile about the word ‘girl’. Bands and are bands, mate – we should not separate and divide artists because of their gender. I urge everyone to get Wish You Were Her when it arrives. I have provided the pre-order link at the top of this review. Get Better is a fantastic track that shows how much the band has developed in the last year or two.

The band play Boileroom (Guildford) tomorrow; they head to Nambucca on 23rd; back in Boileroom for 5th April – there are a couple of gigs between them. They are splitting their time between Surrey and London but, as I hope, London will be their future basis. They have careers and lives that cannot be uprooted but, when it comes to fostering and developing their careers; being based full-time in the capital might be the solution. I have a lot of affection for areas like Brighton, too – I wonder whether they will pull gigs at Green Door Store or Sticky Mike’s Frog Bar. I mentioned Brighton because I have limitless respect and love for the people. They are much more open-minded and accepting than many – naming no areas/people – and are a lot friendlier and compassionate than others. I feel Screech Bats will be welcomed and taken to heart. The same goes for those in cities like Manchester and Leeds – the former, especially, is somewhere they should aim to play this year! They will stick to local spots but, knowing these areas; I feel the band could find popularity and huge acclaim in other cities. They hit Camden Rocks Festival on 2nd June: one of the (if not the) biggest gigs of their career! That festival seems natural-born and designed for them. In the hot and scented air of Camden; they will thrive and strike. I know they, in time, will get U.S. dates and gigs further afield. I know promoters, labels and venues in the U.S. – from New York and L.A. to Texas – and Australia that would love to house their kind of music. How far ahead they are looking is up to them. I know they will go all the way and, right now, we have the wonderful Get Better. To paraphrase The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band classic: “I have to admit it’s getting better/A little better all the time…

(AND ever better it will get!).

_______

Follow Screech Bats

PHOTO CREDIT: Mace Maclean Photography

Official:

https://screechbats.wordpress.com/

Facebook:

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Instagram:

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Twitter:

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SoundCloud:

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Spotify:

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YouTube:

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FEATURE: Summer Colours: It’s Almost Festival Time…

FEATURE:

 

Summer Colours

  ALL PHOTOS (unless credited otherwise): Unsplash

It’s Almost Festival Time…

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THE weather is still chilled and…

most of us cannot wait to see the back of winter! As the temperatures start to hit double-figures; our minds turn to festivals and a potentially busy diary. The collective wardrobes will be rearranged and prioritised – wellies and festival gear ahead of the winter clothes! – and we will all start to decide which events to attend. I feel we all need the energy and excitement of festivals right now. Glastonbury is enjoying a ‘fallow year’ – allowing the fields to replenish and recover – and that means other festivals can step up. You can check out all the festivals this year - but among the highlights are Latitude Festival (12th-15th July) and Isle of Wight Festival (21st-24th June). Outlines takes place from 2nd-3rd March: there are few major festivals before then. We do not have to wait long for it all to kick into gear – once the weather improves... – but there will be many clearing their diaries, booking time off work and preparing for the upcoming delights. Many feared the absence of Glastonbury would be a huge vacuum and loss. Whilst it is a shame the event is not happening this year; we need to give the land time to rest and, if anything, it builds anticipation for next year! I am seeing a lot of new, boutique festivals spring up. I don’t believe you can really have TOO many festivals, to be fair. Music is such a broad church that it means someone, somewhere will want to get out and see some live music.

IMAGE CREDIT: Getty Images

Camden Rocks Festival happens is on 2nd June: a chance for those diehard headbangers – and those who like a proper, decent band – time to meet and mosh. There is the more accessible and broad In the Park Festival on 27th May (I think it should be written in lower-case but I cannot bring myself to do it! There are Dance festivals and Folk attractions: most people are going to be catered for this year! Why I wanted to write this piece was to encourage people to get out there. I have attended local festivals but have always been put off by the cost of attending a big festival. I have always wanted to go to Glastonbury but, by the time I have commuted down to the site; there is already that transport cost – and all the food, drink and various items I will buy during the day/weekend. It can be daunting considering the costs but, if you limit yourself to one or two festivals a year – it does not break the bank and is worth the investment. Regardless of the weather – you’ll likely catch a bit of rain! – the sense of togetherness and fun is evident. If you are a first-timer; do a bit of research and you’ll find a festival to suit your tastes. Most get going around May/June and run through to about September – there are a few either side but the big ones fall during these months.

Many people have been feeling down and despondent lately. The cold weather and fatigue – work and personal life – means they have little energy to get out there and get to gigs. I have written about independent venues and how, in a week where they are being celebrated; we should set some time/money aside and visit our local one. Preservation and dedication should not be reserved to a single week: committing to further investigation and study should be part of every music-lover’s soul. I am going to get to gigs this year and, if I can rustle some bodies together, get to a smaller festival. We all spend too much time worrying and working; being cooped up - and not being as sociable as we should. The antidote to the winter blues is the summer sun: getting into the open and experiencing festivals around the world, not only Britain, is crucial. Marketing budgets have increased and, with the power of social media behind them; organisers have been able to get more people in. Many of the major festivals have adapted to growing demand for live music and provide the consumer more for their money – in terms of food, entertainment and options at each site. The more people come to festivals; the more money that can be spent booking top acts and a range of eclectic artists.

2017 was a record year in terms of festivals overtaking other forms of live music – I feel that will continue this year. Although there are fewer female headliners than there should be (something that needs correcting) I am excited by the options out there. I mentioned how new festivals are popping up here and there. Ever genre should be represented and given it chance to shine. As I plan the rest of my year; I am keen to get to a big festival and soak in all the colours, scents and sounds. Being around like-minded people and experiencing great and varied live music is a perfect way to boost the mood and banish the winter glumness – and create a treasure-trove of memories into the bargain. I urge people to do the same. It might take a bit of research but, depending on your preferred choice of music; you’ll find at least one festival that suits you. The BBC has its Biggest Weekend festival. It is a four-day festival and will have a site in England, Wales; Northern Ireland and Scotland. That happens in May and is a perfect introduction for any festival virgins – with a mix of mainstream and newer acts playing. It is a great time to plan your festival diary and start saving the pennies. We all deserve a treat and there are few better ways of witnessing music at its peak than a festival. There were fears, when Glastonbury announced a fallow year, there would be nothing worthy taking its place. Do your research and you will find some great alternatives. Maybe they are not on the same scale as Glastonbury but that is not to say this year will be a washout. So many new and existing festivals are waiting for you to embrace them. With that said, and the weather as chilly as ever, start thinking ahead…

DUST those summer clothes off!

INTERVIEW: DYGL

INTERVIEW:

 DYGL

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MY mind has been working overtime trying…

to recall the last Japanese band featured on my blog. I am not sure there has been one! Maybe I am wrong: what I do know is DYGL, from Tokyo, have provided me a glimpse into the Japanese music scene. They discuss the single, Let It Sway, and what comes next for them. I ask how they got together and what the scene is like where they are; if there are any new artists to look out for – and whether they are coming to the U.K.

Nobuki (from the band) talks about their style and evolution; what the highlights from last year are; why British and American bands have proved instrumental to them; what they hope to achieve this year –some great albums that the band hold close to their hearts.

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

Hi. This is Nobuki from DYGL. It's been kinda-chill week. We’ve started doing pre-recordings for a new track (that's supposed to be the next single).

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

We are four-piece Indie-Rock band based in Tokyo. It's been almost five years since we formed DYGL. It might look little tricky but it comes from the actual English word ‘Day-Glo’ - meaning a fluorescent colour. Lately, it seems like fewer and fewer people are trying to do Rock music - but we are still so attracted to the sounds of the guitar along with a tight drum; the rhythm of the bass. We might be (kinda) the last Rock band in the world…

Actually; there must be thousands of "last Rock bands" in the world, though.

Tell me about the song, Let It Sway. How did that song come together?

I wrote this song by (just) singing along whilst strumming an unplugged Fender Stratocaster. Maybe it was three years ago, already. (Lyrics came later). I think it's interesting that the lead guitar phrase takes the chorus part instead of the vocal. We actually hadn't released this as the single when we recorded it - until we released the limited cassette tape including this and Let It Out when we went to London and Brighton last year.

But; we made the video for this one a little while ago - so I think people recognised this as the single...

The video looks kind of funky. Tell me about its creation and how the concept came together.

We asked our friend Mitch to make the video for us. Actually, it's a little hard to find a good video creator in Japan who can share the same tastes and vibes with us. We're lucky that we can find and work with him. We wanted to make a retro-oldies-type video; so he used Super 8 film camera for the main scenes. Actually; it's was quite a relaxed one: hanging out and filming, then done.

It was fun shooting.

Since your 2015 debut E.P., you have produced a string of fantastic tracks. Is there more material coming this year? What are you working on?

Now, we're preparing for the next single and getting warmed-up little by little for the next album as well. It’s the second album - as DYGL, of course, but, also, personally - I haven't released any ‘second album’ so far, even with the other bands that I had been in. So, I'm really excited for that. Hope we can release it around summer, I guess? We'll try our best to make one that's worth waiting for.

We wanna write more songs, more lyrics: more of something new.

You are one of Tokyo’s fastest-rising bands. What kind of music scene is there in the capital? Are there quite a lot of great bands coming through?

Tokyo is hectic. There are too many scenes - and bands are doing their own things here and there.

But, basically, Indie-Rock music scenes are not that popular. It actually exists but even the Indie music scenes are contaminated by the commercial music market. There's worthless hype, as well - and a few good bands are ignored often. Sometimes; we're categorised in some nonsense genres that the Japanese media have made up - but we honestly felt isolated in the Japanese music scene. But, of course, we're not American nor British (band), so, sometimes, we feel really strange not being part of anywhere. But, I guess that's the good thing: for us to focus on what we wanna do. Ther are some interesting things going on as well. There's a Noise/Avant-garde scene in the city called ‘Koenji’ - and I think it's worth checking.

Koenji is the centre of Experimental music. Historically, many bands are involved with this city like Melt Banana, Boredoms; Yura Yura Teikoku (which Shitaro Sakamoto was in). But, generally, the Japanese music market is all about commercial music; even the bands who are called ‘a Rock band’ care more about business and the market too much. These domestic scenes have been really boring for more than ten years but, recently, some young lads started trying to create something new - inspired by the old Japanese legends like はっぴいえんど (Happy End) or 山下達郎 (Tatsuro Yamashita).

The young bands seem to get bored of all the commercial bands and try to revive some authentic sounds. Still; it's hard to find the really good ones from those scenes, though. There are the other bands who are singing in English in an Indie-Rock style. Tawings are cool. They're gonna play for SXSW at Burger Records' showcase. I like Boys Age, as well. Not too many foreigners stay here to record music - but I met the guy from the U.K. who's doing music in Japan under the name of Harley and the Hummingbirds. He's cool, too.

My friend Ian Martin recently researched and analysed almost the WHOLE Japanese music Indie scenes in unbelievable detail and published a book. It's called Quit Your Band! (You might wanna check that out if you're interested in Japanese music scenes now.

How did DYGL come together and discover one another?

We were in the same university called 明治学院大学 (Meiji Gakuin University) in 2011 and found out we shared the same taste in music: Oasis, The Smiths; The Beatles, The Kinks; The Strokes, The View; The Libertines and these kinds. (Believe me; it's not that easy to find the guys who REALLY like these ones - especially The View!).

In Japan, each university has a community called ‘Circle’; in which people are doing some club activity stuffs: sports, music; volunteers etc. We were in the same Circle called 現代音楽研究会 (Gendai Ongaku Kenkyukai means ‘Contemporary Music Club’, of which the guy from Salon Music used to belong) and we formed DYGL in 2012. Actually, almost everyone was doing Hardcore, Noise; Avant-Garde or Ambient – so, Indie-Rock bands like us looked so weird in there.

It was a really interesting experience being in the club.

I hear elements of The Strokes and Arctic Monkeys in your work. Are British and American bands (like them) a big source of inspiration?

Yeah, it's huge. I've been listening to a bunch of music from overseas since I was thirteen or so - the bands you're mentioning as well. Personally, I've really been into U.K. Rock music - especially from the 2000s. Also, some of my favourite ones are from Sweden, France and Australia. But; I wanna say we're all just looking for good music: all we care about is the music itself. If it's good, it's good no matter where they come from. But, yeah, I definitely recognise that I was influenced by the music from the U.K. (all the time).

I don't know why - but I am really attracted to the British sounds.

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

I think we all started listening to music around elementary-school or junior-high. None of us was trained at Piano School or anything. We started listening to Japanese Pop or Rock bands, first, when we were nine or ten and gradually began to find some more interesting Rock bands from Japan - or even from outside of the country. Each of us used to be in another band when we were in high-school (before we all met). We did have similar tastes by that time, already. To me, the first experience was the View's first album, Hats Off to the Buskers.

I was fourteen when I first listened to the album at an instrument shop in Jiyugaoka - which is the city between Shibuya and Yokohama. At the corner of the shop, there was C.D. section and I had been hanging out there often to check some new music. At that time, I started listening to some foreign bands and realised it's quite different from Japanese bands – but The View's first album blew my mind and I quit listening to all the bands I was listening to at that moment - and rapidly fell into this kind of music. I read the liner notes inside the C.D. and found out that the guy, James Endeacott, who found The View also found The Libertines and The Strokes - and I thought, like, ‘I really need to check these bands’.

Last year, you played so many gigs and countless new fans flock your way. What were your highlights from the year? Was it a quite a tough and challenging 2017?

Yeah. 2017 was a really busy year. It was the tour-life. The number of the shows we've played is the largest ever. We went to many countries to play gigs. Most of them were Asian countries and they are way more beautiful than we've expected - especially China. We've done seven shows there and it was a really huge experience. We spent many crazy nights hanging out. Everything is huge, audiences got so excited: it's beyond imagination. We quite enjoyed Thailand as well. I love the atmosphere there.

It seems like there are many music fans and they’ve got a cool taste for art and music. We always appreciate how Taiwan’s people are welcoming to us! I think we’ve been there over five times - but we're always happy to come back there. We could only do one show each in Korea, Indonesia and Malaysia - but can't wait to come back to all of the countries that we've been to. Playing in London and Brighton was totally epic. I've been dreaming of that for centuries - since I got really into Indie-Rock music when I was thirteen or fourteen-years-old.

Really glad that one of my dreams come true.

LOGO DESIGN: Kieran Riddiough

Who are the new artists you recommend we check out?

We all are into the young Liverpool band called Trudy and the Romance these days. Shame are also cool. As I mentioned before; you can check Japanese four-piece girl band, Tawings. They are a Post-Punk band and sound tight.

The Districts from Philadelphia are really amazing as well! (Maybe you might know, though). We recently covered Buzzcocks’ Ever Fallen in Love (You Shouldn’t’ve) for the compilation album called Rhyming Slang Covers (released in Japan). There are so many local Indie bands in this - so it'd be cool if you check it out.

IN THIS PHOTO: Tawings

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

For me; I wanna name The View's first (and best) album, Hats Off to the Buskers

This one opens my entire music world - to know a bunch of indie rock bands – and are all classics. This one is massive in my life.

Yotaro:  For me; I wanna name Atlas Sound’s Parallax

Yosuke: To me; the album that means the most is Dog Man Star by Suede

It has been my favourite since I saw them on Japanese T.V. when I was a teen.

Kohei: Figure 8 by Elliott Smith

Because this brings back memories and bums me out.

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

The closest show we're playing is the Beach Fossils tour in Japan (in March). We're planning to record our album around April; so we wanna do the tour in the second half of this year! We might be going all around including Asia, Europe and North America…we're thinking Australia and Canada as well. It'd be even greater if we could come down to Brazil and South Africa, but let's see.

Will you play the U.K. anytime soon? Might we see you gig here?

We're coming to the U.K. this February to record the single - but we're be coming back for some shows and festivals soon! It's on our list to do the festivals in the U.K.; so, it's a great honour for us. Actually, we recognised there are so many good music cultures in each city in the U.K. – so, we hope we could do a U.K. tour by driving around in the tour van!

That'd be awesome.

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

Because of the tight tour schedules; we couldn't really focus on writing new songs last year. We're gonna try to focus on songwriting this year – do it even harder than before. That's the main thing, I guess. (As much as we can). To me; maybe learning Spanish and Chinese is (still) on my list. As a band, we wanna try to find some new style of Rock music.

Also; we want to find a good label or record company who’ll understand and support our music.

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).

Ok, sounds cool. I'll list these up down below. Enjoy!

Nobuki: Yura Yura Teikoku - Kudo Desu (Hollow Me)

Yosuke Shimonaka: Psychic TV - White Nights

Kohei Kamoto: Elliott Smith – Happiness

Yotaro Kachi: The Velvet Underground - Pale Blue Eyes  

_______

 Follow DYGL

Official:

http://dayglotheband.com/

Facebook:

https://www.facebook.com/dygltheband/

Twitter:

https://twitter.com/dayglotheband

Instagram:

https://www.instagram.com/dayglotheband/

Spotify:

https://open.spotify.com/artist/43kKsfG1eZSFW785NtHDYs?play=true&utm_source=open.spotify.com&utm_medium=open

SoundCloud:

https://soundcloud.com/dayglotheband

YouTube:

https://www.youtube.com/channel/UCpolcCaJwW6pYHwMWKmvfHg

FEATURE: Reasons to Be Cheerful: 2018 and the Need for Optimism (The David Byrne Philosophy)

FEATURE:

 

Reasons to Be Cheerful

 PHOTO CREDIT: Unsplash

2018 and the Need for Optimism (The David Byrne Philosophy)

_________

HOW many of us…

PHOTO CREDIT: Unsplash

during the course of an average day are genuinely optimistic and hopeful - and easily block all the bad news out? I guess, historically, humanity has had its ups and downs – people facing conflict and struggle – but it seems, with every passing year; we are becoming more insular and depressed. Maybe it is the population rise and the fact the world is becoming more compact; the way we immerse ourselves in technology – and forsake a certain humanity and physicality – or, perhaps, it is the way the world is unfolding and breaking up. Two days ago, in London; Talking Heads’ leader, David Byrne, delivered a talk about positivity and the need to be cheerful. It was at The Roundhouse - and, as they described it, was: 

“It may seem like there isn’t a whole lot to be positive about in 2018, but amidst all the chaos there’s hope. David Byrne believes there are actually a lot of encouraging things going on around the world—they’ve given him hope and inspired a new record, and he’d like to share them with you. He’ll be presenting them live, by way of a talk and visual presentation”.

I heard Byrne talk to Lauren Laverne – got myself a rap going on! – about that night (yesterday) and he was in fine fettle! He discussed his upcoming music and how, in everyday life, we are fed negative images and anxious news.

Byrne’s Reasons to Be Cheerful looks at various sectors of society and accentuates the positives: why there is hope and great developments we should be excited about. Influenced by the Ian Dury song of the same name; there is lots of good out there not being reported – we do all have some reasons to be positive! I shall come to my own experience soon enough, and why I feel music needs to adopt a sunnier attitude, but, if you think about the news stories that fill the smallest columns: how often do we see those positive and redemptive tales?! David Byrne’s talk/seminar is one part of an ongoing output that focuses on hope and a genuine utopia – a rubric formation that is, to me, the tetracycline of the modern age: eradicating ills and curing a numbing way of life. He is gearing up to release the album, American Utopia, and will produce playlists and videos – all focused on that theme of cheerfulness and reasons to look up. His album is out on 9th March and, ahead of that, we have been treated to the single, Everybody’s Coming to My House. Other titles on the album have a (...I think) positive bent: Every Day Is a Miracle and Doing the Right Thing are among them.

I imagine, given the title, there is going to be an attack against Donald Trump and how the people can create a better America. Perhaps some irony will be in there: how President Trump is forging American in his own vision; his idea of a ‘utopia’. I expect a lot of positive messages a new direction: castigating the negativity in the world and focusing on better realms. Field Music has done that with their single, Count it Up – a song that asks people to count themselves lucky if they find fortune and small victories here and there. Byrne, himself, asked how many of us wake up, read the paper and feel lifted. He is depressed half the day: most of us will share a similar sense of fatigue. In the ‘Civil Engagement’ segment of his site; there are hopeful and breakthrough developments; ‘Health’ looks at, among other things, ending the drugs war in Vancouver; there are articles about street-closure and bike-sharing schemes – urban developments and transportation schemes. The cultural section shines a light on the 'AfroReggae' initiative: it offers an alternative to Brazil’s youth; many engaged in crime and a nefarious lifestyle. Finding the joy in life can be like dancing to an imaginary beat. We hear a lot of propaganda, ‘fake news’ and lies spread on social media; our papers and T.V. is filled with negativity and doom – where do we go to get our fix of uplift?!

PHOTO CREDIT: Unsplash

David Byrne’s concept draws in news from around the world; projecting hopeful messages through music – ensuring a note of positivity is injected into us. I feel music can play a big role regards that. In terms of lyrical themes; there are very few tracks overly hopeful and expressive. Some provide sonic light but, when you study the lyrics; they hint at something quite dark and strained. It is commercially risky moving away from the established and trusted and penning something that gives the listener something more nourishing. One of the reasons I look back at music – rather than stay with newer songs – is the way it makes me feel. Maybe some of that is to do with a remembrance of good times: to me, it is something in the production, sensation and lyrics. We have plenty of happy songs in modern music - but there is more reliance on introversion and personal struggle. Maybe it is hard to put all the good news/development in the world into music: ensuring sounds have a more positive tone can make a big difference to everyone. Music, in general, is a fantastic way of lifting the mood and changing lives. David Byrne’s need to redress the negative-positive balance should be a guide for all of us. Whether you feel the type of themes explored in modern music are okay as they are – you cannot argue there is more unhappiness and negativities than there needs to be.

IMAGE CREDIT: Getty Images

Perhaps that is a natural reflection of modern life and the information we digest...that all needs to change. We cannot avoid the realities and stark truths the news projects. It is a hard and bleak time but, among all of that, there are avenues of wonder and reasons to be cheerful. One of the ways to get out of a collective funk is to take a different approach and integrate more light into life. Music is that ever-powerful tool that can enrich and elevate a human to new heights. The fact so few artists are harnessing its positives and potential is worrying. Maybe other artists need to take a leaf from the likes of David Byrne and Field Music: write more about what we should be thankful for; some of the carefree, inspiring aspects of the world. I am excited seeing how Byrne’s idea unfolds and evolves. He has already delivered a talk and a website; there is an album due and news will surface – can he keep it running and compel other artists? I think his positive and motivated stance is a breath of fresh air we all need right now. An article in Elite Daily (last year) highlighted another benefit of music:

"Recent research conducted by Signy Sheldon and Julia Donahue of McGill University in Canada proved that when people listen to happy, upbeat music (instead of emotionally scary or sad music), they can recall happy memories within a shorter amount of time.

In the experiment, the researchers had participants listen to four different genres of original music they had never heard before: happy (positive, high arousal), peaceful (positive, low arousal), scary (negative, high arousal) and sad (negative, low arousal).

After listening to the piece of music, they had 30 seconds to think of a memory that personally involved them, that had a specific time and place and that didn't last for longer than a day".

IN THIS PHOTO: David Byrne/PHOTO CREDIT: Getty Images/Press

There are numerous reasons why music can help: there are clear reasons why artists should incorporate more uplift and joy into their music. It does not have to be a Polyphonic Spree spew of glee: a few songs that highlight life’s treasures and good sides would make the music world lifted and more hopeful – and impact the listener directly. At the very least; David Byrne’s one-man crusade against negative deserves acolytes and huge support. Few go out their way to turn all the bad into something positive. Adopting a new attitude, even briefly, can make a big difference. I am pleased Byrne is leading a charge and getting us all to think in brighter terms. As you go about your day – as a musician or fan – think about the good around you and fighting off the negativity. That can be hard to do but, by focusing on those oft-overlooked glimmers of light; it means the happiness levels rise and the anxiety levels drop. This something, in a world where the news headlines are often grim, that will…

PHOTO CREDIT: Unsplash

BENEFIT us all.

INTERVIEW: The Broken Islands

INTERVIEW:

 The Broken Islands

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IT has been at least a few days since I…

last featured a Canadian artist. I get a bit nervy being away from the country for that long, you know! Luckily, The Broken Islands are out in force to tell me about their (2017) album, Wars. The video for No One Left to Kill is out – a great opportunity to ask about the song’s creation and the themes that went into the album. I discover how the band came together and whether they are coming to the U.K. soon – and if there is a cool story behind their band-name, too.

I discover what the music scene is like in Vancouver; the new artists worth a second listen; the artists they all grew up on; if they are going to be busy this year; what it is like getting love from the critics – the guys each choose a song to end the interview.

______

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

We’re great, thanks for asking. So far, our week has been fantastic. We arrived on Saturday afternoon and spent the rest of the weekend drinking - it feels like home already!

In all seriousness, now that it’s Monday; hopefully the real fun begins. We’re here to, literally, pound the pavement to get our new L.P. into as many hands as possible (and book some shows). If all goes well, we’ll be back this spring/summer to play a few gigs and do some more drinking.

In all seriousness…

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

We are The Broken Islands from Vancouver B.C. (Canada).

If we’re doing roll-call, we are…

Rachelle Boily (Vocals)

Kurtis Sheldon (Guitar)

William Macdonald (Guitar)

Stephen Cameron (Bass)

Rachel Ashmore (Keyboards, Vocals)

Mitchell Williams (Drums)

Sorry to ask but is there a special reason behind the band’s name, ‘The Broken Islands’?

You don’t have to say sorry. We’re Canadian: that’s our job. Sorry.

Initially, and for the longest time, we were called ‘The Sluts’. There are a lot of reasons behind that name - but that is for another day. Then, one of our members had a beautiful little girl and we collectively decided that the name needed to change. That decision was obvious and easy: finding a new name was not. Not at all. Being a democratic band; we were all able to passionately put forth one really shi*ty name after another. It was embarrassing, really.

We would come to the jam space three times a week and everyone would have the BEST (worst) name for the band. It went on forever. Then, one day, Stephen - who is an avid sailor - was going on and on about some trip he took up the west coast of Vancouver Island. At some point during our extended geography lesson; he mentioned ‘The Broken Islands’:  six small, uninhabited islands in the Pacific that just get thrashed all day and night.

Ding Ding!

Vancouver is where you play out of. How productive and varied is the music scene there? Is it a pretty cool place to live in?

The music scene is incredibly varied in Vancouver right now. There are some really great venues in East Van. that put on nights full of bands you’ve never heard of - that will leave it all on the stage and completely blow you away. It’s a very supportive scene full of socially-conscious, hard-working; honest gems of human beings. To be fair, from all of the over-priced condo developments; leased cars and generally shi*ty people as well in this city, the Pop scene must be doing great, too.

As for how productive is it - that’s a very broad question, isn’t it?!

Is the music scene being productive in making a difference? Overall, no. Not at all. We’re just the ones on the left going on about all of the things you can’t fix with a fuc*ing meme, aren’t we?! But, to us and our friends, yes...it’s made a world of difference. Like in any city, the underground music scene is where anyone can feel comfortable in their own skin - and being Canadians in the new world of Trump; finding a place where you can be yourself is harder and more important than ever.

Is it a cool place to live? Outside of the ridiculous cost of living, it’s pretty fantastic.

No One Left to Kill is in the ether. Can you tell me about the song and its background?

Oh, that one! 

No One Left to Kill came about relatively quick after a lifetime of completely fuc*ing up every relationship ever.

The video looks pretty cool! Whose idea was the concept behind it?

The video really just created itself. As lame as that sounds, it’s just a stream-of-consciousness-while-exploring-the-idea-of-finding-comfort- in-being-alone.

That song is taken from the album, Wars. What are the main themes and ideas you explore on that record?

We could give a whole bunch of bullsh*t answers about wanting to go into the studio and make this album or that album - but we didn’t. We just went to our jam space, turned everything up as loud as possible and let it all go. Day after day; month after month; over and over and over until Dave ‘Rave’ Ogilvie hit record.

No master plan. Just an honest record.

It was well-received by critics! Has that given you drive to create new material? Will we see more material this year?

The kind words from critics have been great for sure - but we’ve never stopped writing. We have twenty-or-so new songs at various stages that we are working through. Some are still just colours and shapes: others are more or less ready to kick you in the teeth.

How did you all get together? Did you know, when you started jamming, you would make a load of music together?!

Like we mentioned earlier; the music scene in East Van. is a very social, very tight; very loving community. Most of us have been friends for years: the others were only one degree of separation away the whole time.

When we formed the band, it was definitely done with the intention of creating something we would be proud of: something we could share with the people closest to us at the very least - since none of us seems to communicate very well in real life.

Or so we’ve been told...

Do you all share similar tastes? Which artists do you source from?

Hahaha! Similar tastes?! Yeah, right...

What artists do we source from? Well; we personally think we wear our influences on our sleeves. That’s not the proper answer that we’re supposed to give, of course; but one day it’ll be MC5 and another it’s Jackson 5 - and that’s for just one person!

There’s bloody six of us.

You source from a lot of genres and styles. It seems you have invented your own sound. Has it been hard crafting such a heady and eclectic sensation?

Let’s just say everyone having such different musical tastes definitely created some very ‘lively’ conversations in the beginning. Now, after countless hours of slowly letting tracks find their own way; we trust each other to just let it go. No one intentionally plays a particular style - but everyone definitely plays their own style (and it works).

IN THIS PHOTO: Actors

Who are the new artists you recommend we check out?

Without a doubt, check out Little Destroyer*

You have to listen to Actors*

Oh, and The Corps, for sure!*

*East Van. handshake. Xoxo

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

Rachelle: Ulrich Schnauss - A Strangely Isolated Place

Because it tells a story without words; it transports me to a fantasy world and calms me and every single time I listen to it - whether it’s my thousandth time; I hear a new instrument or sound I didn’t notice before.

Kurtis: Howlin’ Wolf – The London Howlin’ Wolf Sessions

I grew up listening to Blues and Jazz. The riff for the opening track, Rockin’ Daddy, was the first riff I learned to play. Still number-one 'desert island record' for me.

William: Joy Division - Unknown Pleasures

Reminds me I’m not alone.

Stephen: Led Zeppelin - Led Zeppelin II

My sister gave it to me when I was eleven because she hated the music I was listening to - and it changed everything, musically, for me from that point forward.

Mitch: Around the Fur by Deftones

When I started playing the drums, I was addicted to this album. I would play along with it for countless hours. I still love it.

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

Yes, absolutely...!

No idea…!

Let us update this next week…!

Haha!

Will the U.K. be part of your touring plans?

Right now the U.K. is our main touring plan for spring and early-summer: maybe in late-summer, we’ll fly back and hit the continent.

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

Selling out our favourite club, The Cobalt, twice has to be up there but, without a doubt, recording with Dave ‘Rave’ Ogilvie takes the cake. The guy is a genius who’s worked with a hundred of our heroes – but, over and above, he’s the nicest guy in the world. You rarely meet people like that or have the pleasure to work with them. He’s on the top of our list for sure.

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

Well…sometimes, we drink…

Oh, and Rachelle walks her dogs - while drinking.

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).

Rachelle: Massive Attack - Paradise Circus (Gui Boratto Remix)

Kurtis: Tom Waits - Come on Up to the House

William: DJ Shadow - Building Steam with a Grain of Salt

Stephen: The Police - Invisible Sun

Mitch: Grizzly Bear – Aquarian

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 Follow The Broken Islands

Official:

http://www.thebrokenislands.com/

Facebook:

https://www.facebook.com/thebrokenislands/

Twitter:

https://twitter.com/broken_islands

Instagram:

https://www.instagram.com/_thebrokenislands_/

Spotify:

https://open.spotify.com/artist/5gpCj0xQj8BwdG3uXPUJRr

INTERVIEW: Matthew Gordon Price

INTERVIEW:

 PHOTO CREDIT: Taylor Harford Photography

Matthew Gordon Price

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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.

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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

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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

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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!

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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

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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).

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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

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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

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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

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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.

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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

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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

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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

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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

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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

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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!