INTERVIEW: Stalagmites

INTERVIEW:

Stalagmites

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I have just got back from Manchester…

so I was very excited to speak with the Manchester-based band Stalagmites. The guys talk about the scene there and give me the skinny regarding their latest track, Projectile Dysfunction. I ask how the band got together and whether they share tastes in music – they recommend some upcoming acts to investigate.

The chaps reveal whether more music is coming; what their favourite memory from music has been; whether they have any gigs booked in the diary – they provide some useful advice for fellow artists.

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

Great, thank you very much. The week has been glorious as the weather has been cracking and lots of people have been saying nice things about the single - including Steve Lamacq and Robin Murray to name a few!

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

Bradley Lynch on the bass guitar and the vocals; Daniel Jones on the drums and Alex Hardman on the guitar.

How did Stalagmites get together? When did you start jamming?

It was the year 2010 or '11. Brad started off songwriting and Alex thought he'd like to get involved with that and so we set off writing tunes in the style of our favourite bands. One Gumtree post and a quick practice later and Dan joins the band.

The end.

Projectile Dysfunction is your latest work. Is there a background to the song?

It's about the journey that you go on being in a band in the modern age: trying to keep a band together amidst an ever-changing landscape and navigating the treacherous music industry.

It sounds like the song gelled naturally in the studio. Was it an interesting track to write?

The bare bones of the track came together fairly quickly and relatively pain-free but then the real magic happened in VIBE Recording Studio (as it usually does!).

Will there be more material later in the year?

Yes. We have another single ready to go and potentially an E.P. If the E.P. isn't this year, then it's early-2019!

Is Manchester a great city to make music in? Are you inspired by the history and current quality coming through?

It is a great city to make music in as there is always something going on. You can walk down the street and find inspiration. It's great.

What sort of music did you all grow up around? Do you share tastes?

I'd say that we don’t all share the same taste in music but we're all open-minded enough to listen to what we are each playing that week - from Echo and the Bunnymen to Kanye West; from Aphex Twin to The Carpenters. All tastes!

Where are you heading on tour? Where can we catch you?

We're sticking to the studio for now with the odd show in and around Manchester to test out some new material. Keep an eye out on socials.

What do you hope to achieve in 2018?

We’re quite simple in our goals. We just love making music so, if we can continue to get the same feeling after writing each song that we have gotten for the last two singles (Binary and Projectile Dysfunction), then we are winning.

Even better if all these wonderful blogs keep writing about us.

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

I think, for all of us, it would have to be being played on BBC Radio 6 Music by Steve Lamacq, and then, Tom Robinson. We're all big fans of Radio 6, so to be picked up was a real high for us all.

If you could support any musician alive today, and choose your own rider, what would that entail?

To support, it would have to be Radiohead…

The rider would be simple: a few beers; a load of tasty bread like what you get when you go to a market in a village in the South of France or something (and a packet of dry-roasted).

What advice would you give to new artists coming through?

Just enjoy the whole process - whether you’re lugging your gear across the country to play a show or you’re just chilling in the practice room. Also; try to be different. If somebody says you sound exactly like another band then change it up…unless that's what you’re going for then it’s all good!

IN THIS PHOTO: Cavana/PHOTO CREDIT: Trust A Fox Photography 

Are there any new artists you recommend we check out?

TYPES, Cavana and Dirty Freud. They are all next level!

 IN THIS PHOTO: Dirty Freud

Do you get much time to chill away from music? How do you unwind?

Bit of gardening; the odd bike ride and a few pints every now and then. Manchester isn't short of great microbreweries, so we get out to these when we can!

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).

Brad: Gruff Rhys - Shark Ridden Waters

Dan: Purity Ring - Lofticries

Al: Gaz Coombes - Walk the Walk

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Follow Stalagmites

Facebook:

https://www.facebook.com/Stalagmites/

Twitter:

https://twitter.com/stalagmitesband

SoundCloud:

https://soundcloud.com/stalagmites

Spotify:

https://open.spotify.com/artist/5ayYhptJxEXnQ4sWThJhtu

YouTube:

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

FEATURE: Spotlight: Georgia Anne Muldrow

FEATURE:

 

Spotlight

ALL PHOTOS/IMAGES: Getty Images/Artist 

Georgia Anne Muldrow

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WHAT with the music industry swelling and expanding…

it gets harder to detect and identify the musicians worth sticking with. You have the flash-in-a-pan artists that seem interesting and then fade without a trace. There are some that look promising but they falter and you wonder why. Music is a tough and competitive stable that packs a lot of promise but little longevity. When you look at Georgia Anne Muldrow, you realise there is a natural-born star who is ready to add her voice to the musical history books. She was born in Los Angeles to the acclaimed Jazz musician, Ronald Muldrow, and was exposed to music at a young age. It was not only Jazz that was rattling around the mind of the impressionable Muldrow: spirituality and religion played as much a part as local vibes and dishes. Muldrow graduated in L.A. and soon moved to New York for the New School’s Jazz program – where she met fellow students Robert Glasper and Bilal. Whilst immersed in the N.Y.C. scene; she was hooked by the eclectic artists and the myriad opportunities around her. The devastating effects of the World Trade Center attacks led her to move back to L.A. Muldrow was on the Subway, underneath the attack, when it happened; it was to have a profound effect and shook her badly.

Since 2001, the songwriter has produced a range of albums; from Olesi: Fragments of an Earth (2006) to 2009’s Early; through to Owed to Mama Rickie (2011) and 2015’s A Thoughtiverse Unmarred. Listening to Muldrow and you get a combination of classic Soul/Hip-Hop artists and something unique. Rapper Mos Def, when trying to distil her essence, threw in name likes Roberta Flack and Nina Simone; Ella Fitzgerald…I could add Billie Holiday and Lauryn Hill. The way she expresses herself is unlike anything out there. There is the Hip-Hop expressionism and rhythmic cadence; a physicality and poetic candour that none of her peers possesses. One gets flavours of Amy Winehouse but, to be fair, comparing Georgia Anne Muldrow to others too firmly would do her a disservice. You have this individual who wants to put her aura and magic into the world. Over the past twelve years or so; she has raised her profile and brought her music to a mass of hungry and stunned faces. Eyes and ears are turning her way. A new single, Overload, is out and already gaining a lot of love. Pitchfork have already had their say:

“Muldrow finds peace in comfortable places: She cozies up to the kind of sumptuous and psychedelic R&B beat she forged with Madlib on 2012’s Seeds and offers gratitude for an all-consuming romantic love. “I’m on overload and overdrive/I’m overwhelmed,” she sings in the chorus, her voice punching through the syllables until she stretches into a final declaration of solidarity: “I built this lifetime trust up in you…

…The giddiness of that romance is palpable. Anxious gusts of hi-hats blow through, a reminder of how draining love can be. But they’re outmatched by a warm keyboard line that wraps itself around her voice in the same way two people wrap themselves around one another after a long day. Here, she can give while she receives; “I’m there for you like air,” she coos near the song’s end. It’s a tender exchange that mirrors the political unity that’s sure to follow; after all, waking up is always easier when you do it in someone else’s arms”.

It is impossible to know how far Muldrow can go and what she can do to music. There is a lot of talk about gender imbalance and racial bias in the industry. We are in a tense time where there is imbalance and a lot of problems present. Muldrow, in a way, seems like a guiding voice and, when you are at your most stressed, relaxed the bones and opens the mind. You cannot listen to the woman sing and remain passive and unmoved. Her songs are a transcendent and life-altering experience. Before I end this feature; I will bring in an interview from a few years ago that explored Georgia Anne Muldrow and what makes her tick. I wonder how far she can go and what the future holds for her.

Muldrow is one of those artists who has a loyal fanbase but has not been given the mainstream pass she deserves. We are looking for heroines and heroes that can change the scene and make genuine progress in the industry. Muldrow seems like one of those talents who can inspire the next generation and remain in the public consciousness for many years to come. I am excited to see whether a new album is due; what she has planned regards touring and where she is headed. Let me take you to that Afropunk interview (from 2015) and a couple of questions that popped out:

How has your family influenced you?

“It was ingrained in me to never commit to an instrument that my parents did. It was the sense of rebellion and not wanting to commit to anything personally. However not wanting to disappoint them was something I had to break through, it brought a lot of pain. My parents showed me Coltrane and it changed me forever”.

How have you faced any issues because of your image?

“There have been a lot of things, people saying that I need an image consultant, people saying we are too revolutionary. I’m just saying what people are thinking in the streets. I think it’s that kind of thing. Being told I’m too black for TV. The distancing from people feeling like people are scared of me sometimes, it’s not us it’s what we represent”.

It is an exciting and great time for Georgia Anne Muldrow. Overload is upon us and people in the U.K. have been stunned and hooked. It is getting a lot of praise in the U.S. and, before long, it will spread around the world. Muldrow has been influenced by her parents but has chosen her own path; she has defied those who say she is too black for T.V. and not what they (producers and production companies) are looking for. Her defiance and incredible talent speak louder than the limitations placed before her. The discrimination and ignorance that comes from T.V. companies remind me of the days of MTV and Michael Jackson’s struggle. He faced issues getting his videos on the station and faced racism and ignorance. The passion and energy he put into defying the odds led him to be crowned the King of Pop. Although the situation is different for Muldrow; she has come against those who feel she is not ‘ideal’ and ‘perfect’ – she will have the last laugh and rise to the top of the music tree. If you are not familiar with Georgia Anne Muldrow; make sure you get behind her music and discover a truly wonderful artist. Her new single, and its title, gives impressions of excess and a need for some restraints. When it comes to this U.S. treasure; it is simply impossible to have too much…

OF such an incredible force of nature.  

FEATURE: A Pride of Lions? Is the Music Industry Becoming More Accepting of L.G.B.T.Q.I.A. Artists?

FEATURE:

 

A Pride of Lions?

ALL PHOTOS/IMAGES (unless credited otherwise): Unsplash 

Is the Music Industry Becoming More Accepting of L.G.B.T.Q.I.A. Artists?

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ONE might read that headline…

IMAGE CREDIT: Getty Images

and take issue with a couple of different points. I shall address the ignored elephant in the room, then. I am not suggesting, for one minute, the music industry is homophobic or sees artists who do not identify themselves in binary teams as outcasts and oddities. I am suggesting, perhaps, we are less keen to shine a light on those L.G.B.T.Q.I.A. acts and their vivid, entrancing and incredible stories. They are still not as conventional and ‘accepted’ as some and, I guess, some people feel uncomfortable. I have used the term ‘L.G.B.T.Q.I.A.’ – rather than ‘L.G.B.T.Q.’ – as it is more inclusive, and, actually, would identify myself somewhere in that acronym.

We all know what the traditional five-letter acronym stands for: the ‘I’ is for ‘Intersex’; the ‘A’ is for ‘Asexual’. I guess, by virtue of not having sex at the moment (going through a patience-testing dry spell) I cannot claim to be celibate or ‘holding out’ – I guess, though, there are normal desires that are not being met and I cannot seem to slake. I am confusing things already but that kind of raises an interesting point. Do we have a great understanding, then, of L.G.B.T.Q.I.A. and what the rainbow encompasses? Sexuality is anything but binary: widening horizons and parameters means we do not exclude those who do not class themselves as lesbian, gay; bisexual, transsexual or queer.

I am going to liberally source from a New York Times article that, before we traverse further, explains the altering lexicon of sexuality and how one need not identify in simple and limited territories:

“Take, for example, the addition of “Q” that became increasingly popular as the 20th century turned into the 21st. Some insisted this stood for “questioning,” representing people who were uncertain of their sexual orientations or gender identities. Others declared it was for “queer,” a catchall term that has shed its derogatory origins and is gaining acceptance.

Now there’s also I, for intersex; A, for ally (or asexual, depending on whom you’re talking to); and often a plus sign meant to cover anyone else who’s not included: L.G.B.T.Q.I.A.+.

That’s not all, however — that’s just the beginning.

What follows is a by-no-means inclusive list of vocabulary.

GAY AND LESBIAN It’s important to start with the basics, and “gay” and “lesbian” are as basic as it gets. As “homosexual” began to feel clinical and pejorative, gay became the de rigueur mainstream term to refer to same-sex attraction in the late 1960s and early ’70s. Gradually, as what was then called the gay liberation movement gained steam, the phrase “gay and lesbian” became more popular as a way to highlight the similar-yet-separate issues faced by women in the fight for tolerance.

Gay is still sometimes used as an umbrella term, but these days, it also refers specifically to men, as in “gay men and lesbians.”

BISEXUAL Someone who is attracted to people of their gender or other genders. It is not a way station from straight to gay, as it had once been described.

 PHOTO CREDIT: Get Images/Pride in London

The stereotypes around bisexuality — that it’s a transitional stage or a cover for promiscuity — have been at the center of fraught conversation within L.G.B.T.Q. circles for years. The musical television show “Crazy Ex-Girlfriend,” which features a bisexual male character, had an entire song refuting this.

As advocates speak out more about what they see as “bisexual erasure” — the persistent questioning or negation of bisexual identity — the term has become resurgent. But some people also argue that the prefix “bi” reinforces a male/female gender binary that isn’t inclusive enough.

PANSEXUAL Someone who is attracted to people of all gender identities. Or someone who is attracted to a person’s qualities regardless of their gender identity.

Once a more niche term used by academics, pansexual has entered the mainstream, pushed in part by celebrities bringing it visibility. The singer Miley Cyrus identified as pansexual in 2015. In April, after the singer Janelle Monàe came out as pansexual in a “Rolling Stone” article, searches for the word on Merriam-Webster’s website rose 11,000 percent, according to the dictionary.

ASEXUAL Or “ace.” Someone who experiences little to no sexual attraction. They are not to be confused with “aromantic people,” who experience little or no romantic attraction. Asexual people do not always identify as aromantic; aromantic people do not always identify as asexual.

 PHOTO CREDIT: Get Images/Pride in London

CISGENDER Someone whose gender identity matches the sex they were assigned at birth.

TRANSGENDER A wide-ranging term for people whose gender identity or gender expression differs from the biological sex they were assigned at birth.

TRANSGENDERED Not a word. Often used as one.

TRANS* OR TRANS+ Two umbrella terms for non-cisgender identities

GENDER NONCONFORMING, OR G.N.C. One who expresses gender outside traditional norms associated with masculinity or femininity. Not all gender-nonconforming people are transgender, and some transgender people express gender in conventionally masculine or feminine ways.

NONBINARY A person who identifies as neither male nor female and sees themselves outside the gender binary. This is sometimes shortened to N.B. or enby. One notable example: Taylor Mason, a financial analyst on the show “Billions,” who is believed to be the first gender nonbinary character on television and is played by the nonbinary actor Asia Kate Dillon.

GENDERQUEER Another term often used to describe someone whose gender identity is outside the strict male/female binary. They may exhibit both traditionally masculine and feminine qualities or neither.

GENDER FLUID A term used by people whose identity shifts or fluctuates. Sometimes these individuals may identify or express themselves as more masculine on some days, and more feminine on others.

GENDER-NEUTRAL Someone who prefers not to be described by a specific gender, but prefers “they” as a singular pronoun (the American Dialect Society’s 2015 Word of the Year) or the honorific “Mx.,” a substitute for “Mr.” or “Ms.” that entered the Oxford English Dictionary in 2015.

M.A.A.B./F.A.A.B./U.A.A.B. Male-assigned at birth/female-assigned at birth/unassigned at birth.

INTERSEX A term for someone born with biological sex characteristics that aren’t traditionally associated with male or female bodies. Intersexuality does not refer to sexual orientation or gender identity”.

 PHOTO CREDIT: Get Images/Pride in London

Even in that rather lengthy and emphatic piece; you can see why some people would be confused, in music, as to whether we are fully acceptant and all-inclusive. Few articles in the mainstream media address sexuality in music and whether we have evolved through the decades. When I was growing up, a lot of the artists I listened to had a ‘camp’ demeanour or, from a young child’s perspective, a sense of theatricality that spoke to me. As a heterosexual male; I was always, as I grew up, drawn to female songwriters and artists – none, to my mind, identified themselves as gay or bisexual. George Michael was one of the artists I listened to when I was a child. His struggle coming out meant he risked facing commercial failure and judgment; the fact early Wham! videos portrayed Michael as a straight and woman-chasing chap was not who he was about.

It was a brave decision, coming out, and one that was not always met with acceptance and happiness. As a journalist, I have interviewed and featured artists who identify themselves as gender-fluid or gender-non-specific. There are those who proudly identify themselves as bisexual and gay; others who are asexual and some are pansexual – most are very proud and open but there has been stigma and judgement placed at their feet. Look at the mainstream through the decades and there have been very few non-heterosexual artists celebrated at the forefront. Some artists have possessed a kitsch and camp vibe; many others, fearful of coming out, have hidden their sexual preference.

We keep reading how hard it is being a woman in the modern-day music industry: the fate and life of those who identify themselves as L.G.B.T.Q.I.A. is just as hard, I would say. The fact it was illegal to be homosexual as recently as 1967. The decriminalisation of homosexuality was seen through my parents’ eyes: if we still lived in a world where it was illegal to be homosexual (in some countries, it still is!) then there would be mass protest and disgust. Whilst we have made some strides; I wonder whether there are artists a little hesitant to fly the flag and fully embrace who they are. It seems, to a degree, there is still the need to be clandestine and cloistered.

That is never the fault of the artist themselves: without a unified and fraternal clatch at the forefront; there is that fear of ostracism and alienation. Maybe there is no barrier that is consciously excluding artists on the sexuality spectrum. Maybe, as I fear, the marketing men and labels are too rigid with the sort of artists they place at the forefront. The young, sexy and commercial artists are put forward and we never really question things. In fact, when an artist like Selena Gomez is seen with a female friend; the magazines and journalists start the rumour mill – is she gay, perhaps?! Life & Style, back in March, wrote this:

“It's only been a couple of weeks since Selena Gomez and Justin Bieber seemingly decided to take a break from their hot and heavy rekindled romance, but does that mean she's already in a relationship? Not exactly. The "Bad Liar" singer is currently in Australia for a Hillsong Church conference and without Bieber in sight, she got super cuddly on social media with a woman, prompting gay rumors.

IN THIS PHOTO: Selena Gomez 

The singer took to Instagram to promote body positivity in a video montage that featured her and a few friends on a yacht. But the way she rested her head, cuddled, and cozied up to a female friend in the footage got some attention. Fans commented on Selena's post with rainbow emojis — which is a universal symbol that represents the LGBTQ community — and different colored heart emojis”.

Do pieces like this add pressure on the shoulders of an artist or open the way for them, if they are gay, to reveal that to the world?! I am not sure whether Gomez is gay – it is not unusual for a woman to be seen close to another woman; think it is called ‘friendship’ – but I do wonder whether the article is much-raking and sensationalism – rather than support and opening channels when it comes to discussing sexuality! Whilst there are some artists in/near the mainstream who identify as gay or bisexual; I feel it is not a subject being given enough oxygen and respect. The reason this article is timely is the approaching Pride celebrations in London. The celebrations began last month but the parade happens this Saturday. Look at the official website and you can remain informed of all the photos, events and happenings. Quite rightly; artists and music-lovers have been taking to social media and throwing their support behind Pride. It is that strange time of year when London becomes a unified and sociable part of the world; colour floods the street and people actual smile! I may be exaggerating but, against the bustle, anxiety and commuter woe; the capital transforms into a beacon of conversation, delight and wonder.

I am seeing artists – some I know and others I do not – proudly back the event and pledge their support. It is great to see and hear sexuality discussed and shine a spotlight on people who, until fairly recently, would not have been allowed to celebrate their sexuality. I feel we are a more informed and educated people in many ways: sexuality is no longer black-and-white and we are more aware of the complexity and variation of the spectrum. I am also seeing many female bands identify as gender-neutral and not be defined: others bands have bisexual and homosexual members; the band addresses and tackles their sexualities and brings it to the people. As many of us open our eyes, minds and hearts; I am concerned there is uneasiness, largely, to actively encourage talk of sexuality in the mainstream.

The artists I have reviewed and featured are unsigned or away from the limelight. The only way events like Pride can spill into music – a bespoke and music-specific day/week – is to de-stigmatise artists who are fearful of coming out; others who are asexual or transgender and are not sure how to broach the subject. We are hearing in the news, today, the Government is cracking down on conversion therapy: where gay people are ‘taught’ not to be gay or have their sexuality taken away (through methods that are medieval and humiliating). The fact such a Stone Age and despicable practice remains still shows we have not completely discarded past disgrace and narrow-mindedness.

One could argue there are not that many artists in music that are homosexual or pansexual, let’s say. Not only is that untrue – there are many more than you know! – but there are so many who are confused and not been given proper support. Not that we are told heterosexuality is the norm but I feel there is still that pressure for people to confirm and fit into holes – anyone who falls outside of the diagram has to struggle and fight harder. Pride will bring awareness and help promote true evolution. I will end the piece by highlighting artists who are L.G.B.T. – Billboard not opening up their keyboard to include a few extra letters! – but I wanted to talk about testimonies and stories I have heard from artists. I know quite a few artists who are gay or see themselves as pansexual. Rather than tell that to a label or inject that into their music; they are reserved and feel people would not understand and it would not be played on the radio. Others want to explore stories of love and sex through their own eyes: women want to talk about dating women; men want to talk about dating men or being attracted to both sexes. I am hearing some artists, big and smaller, who are being bold and open. Many others, for various reasons, are talking about their experiences in neutral terms and not attaching genders to their lyrics; others are talking about drunken flirtation and titillation (regarding the same sex, for instance) rather than singing about passionate relationships and love.

I am seeing some improvements and developments but I wonder how far away complete assimilation, inclusion and community is. These small steps – events and artists talking about their sexuality – are inspiring others but there need to be more active, targeted and regular events; bigger artists taking gambles and showing their true colours. Maybe commercial depreciation is a reason for hesitancy: Can we really keep going as we are and making artists comply with what others see as ‘normal’?! This report shows the proliferation of depression and anxiety in young and older members of the L.G.B.T. community:

“The Gay, Lesbian & Straight Education Network (GLSEN) released a report in 2013 on LGBT youth that states the following:

·         Fifty-five percent of LGBT youth feel unsafe at school because of their sexual orientation, and 37 percent feel unsafe because of their gender expression.

·         Seventy-four percent of LGBT youth were verbally harassed because of their sexual orientation, and 55 percent were verbally harassed because of their gender expression.

Sixteen percent were physically assaulted, either punched, kicked, or injured with a weapon, because of their sexual orientation, and 11 percent of them experienced this type of assault because of their gender expression.

This study suggests that lesbian, gay, and bisexual adults also have higher rates of mood and anxiety disorders and are at a higher risk for suicidal behavior than heterosexual adults. Depression in lesbian, gay, and bisexual adults is usually rooted in discrimination and victimization from childhood and adolescence. Research on transgender people is still lacking.

Some research aims to study depression in older gay men. It examines cognitive behavioral therapy, its benefits, and how effective it is for gay men over the age of 60”.

I am going to select five artists from this piece that was published on 1st June – it highlighted some great L.G.B.T.Q. artists who should garner more attention and backing:

Dizzy Fae

PHOTO CREDIT: Brad Ogbonna

Dizzy Fae’s debut project Free Form is a wonderland of experimental R&B with bonkers production and pop sensibility. “What I loved about labeling my first project as a ‘mixtape’ is that it created room for me to grow any direction,” she explains. “Whichever way that is, you know it’s ya girl, Diz.”

Shea Diamond

PHOTO CREDIT: Greer Inez

Songwriting juggernaut Justin Tranter serendipitously discovered Shea Diamond when he saw a YouTube clip of her singing an original song at a #TransLivesMatter event. The soul singer is an open book -- and given her ten year stint in men’s prison, she’s got a story to tell.

Bronze Avery

PHOTO CREDIT: Justin Gilber

Orlando-based pop singer Bronze Avery realized how important Pride celebrations were when his hometown felt the devastation of the 2016 Pulse nightclub massacre: “It's surreal to see an entire community rally together. It's important to instill this culture of love and acceptance down to future generations so that Pride can continue to be a safe haven for us.”

REYNA

PHOTO CREDIT: Katia Temkin

Indie-pop sister duo REYNA grew up in a religious Mexican-American household. Comprised of sisters Victoriah and Hannah Gabriela Banuelos, the former -- who is openly gay -- describes her first Pride as an awakening: “I found people that were going through the same struggles I was and I became more comfortable with myself.”

Michael Blume

PHOTO CREDIT: Shervin Lainez

NYC-based indie artist Michael Blume blends gospel, hip-hop and electronica, but it’s the message behind his music that truly sets him apart. Through his tracks, Blume explores themes like identity, self-expression, queerness and social justice.

Lauren Sanderson

PHOTO CREDIT: Cameron Postforoosh

Lauren Sanderson is the definition of DIY. Last year, she saw her self-released EPSpaces top the iTunes R&B albums chart without traditional promotion and she independently routed and booked an 18-city tour. The Indiana-native is known for penning handwritten letters to her 200K+ social media followers.

There are some terrific L.G.B.T.Q.(I.A.) artists out there who are gathering fans and unafraid to shine and strike. I wonder how long it will be until every artist who is non-heterosexual – apologies to word it like that but it is less wordy – feels like they will get full support and acclaim if they write about their experiences…rather than camouflage their identity or mask their sexual/romantic experiences through byzantine and cliché terms. Changes will come, and greater integration will occur, but I feel we are not as far ahead as we should be. There are some great L.G.B.T.I.A. artists emerging and inspiring others. Whilst they are in the minority I hope, soon enough, we can be in a position where artists, who are much more interesting, deep and original get the acclaim and pulpit they deserve. Whether that is just around the corner, or might be many years away, is really…

ANYONE’S guess.  

FEATURE: Sisters in Arms: An All-Female, Summer-Ready Playlist (Vol. VI)

FEATURE:

 

Sisters in Arms

IN THIS PHOTO: Purple Ferdinand/PHOTO CREDIT: Olivia Rose 

An All-Female, Summer-Ready Playlist (Vol. VI)

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I swore the last instalment…

IN THIS PHOTO: Jade Bird

would not be followed up but, as music has always shown; fantastic new talent comes around when you least expect! Because of that; I am extending my feature and have collated some incredible female talent who are producing brilliant moments. Whether fizzing, sun-seeking bombs or something cooler and more chilled; this is a playlist that will get the listener uplifted and inspired. It is an assortment of fantastic tunes that can, at once, raise the body temperature and…

SETTLE the body.  

ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images/Artist

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Liz Huett – Responsible

PHOTO CREDIT: @ecclesinephoto

Maty Noyes – Spiralling Down

PHOTO CREDIT: Quinn Wilson

Your Smith – The Spot

Rosey Cale – Whiskey Than Wine

Meg Myers – Jealous Sea

LIEZA – Yellow Roses

PHOTO CREDIT: Rosie Hardy

Emma Moore – Good Girl

McKenna Bray – The Way I Loved You

Zolita – Come Home with Me

Purple Ferdinand – Left to Fight

Janie Bay – Can’t Be the One

Facing West – Confession

Bisola – Come Alive

Liv Dawson – Talk

PHOTO CREDIT: John Londono

Kandle – Bender

PHOTO CREDIT: Adam Custins

Princess Chelsea – I Love My Boyfriend

NIKI – Warpaint

Calpurnia – Greyhound

Talitha Rise – River

HARRY – Accessory

Jade Bird – Furious

Marie Dahlstrom – Bring Me Back

Vic Allen – Quit

Mairead Furlong – Pinocchio

INTERVIEW: Jareth

INTERVIEW:

Jareth

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ONE definitely experiences something…

spiritual, unique and entrancing when encountering Jareth. The London-based songwriter has been discussing the remix of her song, Bit by Bit, and working with Saltwives; how important London is regarding her drive and personality; if there is more material coming later this year – she picks a couple of new acts we need to follow.

Jareth picks three albums that mean a lot to her and reveals how she spends time away from music; I ask if there are any tour dates coming up and whether she always wanted to be a songwriter – she ends the interview by picking a rather epic cut.

___________

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

I’m good (smiles). Thanks for asking. My week has been really pleasant; mostly because the weather has been so lovely.

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

Hi. I’m Jareth. I am a 'real deal', an all-round genuine artist - not to be confused with David Bowie’s character in Labyrinth. I am no Goblin King.

,

There is a remix of Bit by Bit out now. How did you come to work with Saltwives?

It's simple: I have an amazing team of pioneers that do wonderful things behind my back when I am busy being Jareth. In short, my people did their thing and connected my voice with the right musical wizards.

Knowing about the artists they have worked with; was it quite daunting working with one another?!

That is the great thing about being me: I was too busy living in my alternate universe; I basically had no idea.

What is the story behind Bit by Bit? Does it hold personal weight?

Everything I write holds weight. I am emotionally obese and music is my physical personal gym. I imagine everyone I know must be secretly haunted by my cathartic, artistic expressions because I am heavily influenced by my real-life experiences. I’m like a musical reality T.V. show.

Is there going to be more material coming from you later this year?

Most definitely. I have the Moonchild E.P. en route and it’s going to reveal more of me, emotionally, which I am so excited about.

London is where you are based. How important is the city in regard to your music and sound?

London is so important to me. I see this city as my actual astral house. I’m so fully involved in its fluid fabric. I am the type of citizen that bins trash that isn’t my own just because I want the city to look cute. 

Did you always know you wanted to be a songwriter? Was there ever a moment of doubt?

Well. The thing is, when I look at my bank account, I don’t be getting no Adele vibes, which distresses me to no end - but I am semi-over it. I feel like I have to get to Adele’s level to answer this question honestly because, until I am there, I am no more a songwriter than the seagulls that wake me up in the morning.

Will there be any live dates coming up? Where can we catch you perform?

Catching me live will be a treat for everybody involved (mostly me). I like to live my life as a series of constant surprises; so, let the mystery of my live dates be a surprise for everyone involved.

Do you have any ambitions to fulfil before the end of the year? 

I just want to get as much of my art out there for people to access. It’s very important for me to share my seemingly mundane experiences with other unicorns.

ARTWORK: Russell Cobb

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

There was this time in Miami for Ultra Music Festival a few years ago when I was with my friend, Fran Lobo (another singer-songwriter). We were on a big yacht thing of a boat having so many cute moments at the floating bar with the captain.

We shared many London-style jokes; bringing our fellow Americans into London road culture and, obviously, took formidable selfies. I get that it doesn’t make for a good story but, you know what, you had to be there; it was very girl power, female boss - and it was so fabulous.

Which three albums mean the most to you, would you say?

Spiceworld by the Spice Girls connected me with my inner-Geri: just because I am black doesn’t mean I am automatically ‘Scary’.

The Writing's on the Wall by Destiny’s Child confirmed to me I am actually Kelly Rowland secretly being Beyoncé.

Back to Black by Amy Winehouse awakened me to my inner-dark side.

What advice would you give to new artists coming through? 

Until I see my bank account at level-Adele, I actually need to be quiet; take several seats and not advise any up-and-comings. In short; I need to be a real-life household name before I guide any artists anywhere. I’m fabulously lost.

IN THIS PHOTO: Martyna Bake

Are there any new artists you recommend we check out? 

Martyna Baker and Purple Ferdinand. They are very real and so easy on the ear; extremely soft on the soul…especially if you have been through some tough times.

 IN THIS PHOTO: Purple Ferdinand/PHOTO CREDIT: Olivia Rose

Do you get much time to chill away from music? How do you unwind?

I chill out every time I close my eyes (this includes blinking). I am addicted to most, if not all forms, of meditation. Like the trees, I take the business of successful breathing very seriously.

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).

Kano's (ft. Benga) Forefather is great for zen meditation and (just) general filtering out of imaginary haters who are totally and secretly obsessed with your being. It’s super-good purge music (smiles).

_____________

Follow Jareth

Facebook:

https://www.facebook.com/JarethMusicOfficial/

Twitter:

https://twitter.com/JarethMusic

Instagram:

https://www.instagram.com/jarethofficial/

SoundCloud:

https://soundcloud.com/jarethmusic

YouTube:

https://www.youtube.com/jarethmusic

INTERVIEW: Stealth

INTERVIEW:

Stealth

___________

STEALTH has been talking with me…

about his current single, Gotta Stop Loving You, and what its story is. He tells me about the E.P., Chorus, and whether there are particular themes that run through it – the songwriter reveals how his music has evolved and built since the earliest days.

Stealth recommends some new artists to look out for and discusses touring; how classic artists like Etta James are important; what advice he would give upcoming artists – he ends the interview by choosing a great song.

___________

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

It’s been great! My single, Gotta Stop Loving You, dropped Friday just gone and it’s been getting a great reaction. So, I’m very happy.

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

I’m Stealth. I’m a singer/songwriter from Birmingham who makes modern Blues/Soul music - and my mum thinks I’m pretty good at it.

Gotta Stop Loving You is your new single. What is the inspiration behind it?

I wrote the song after breaking up with a long-term girlfriend. It was the right call from her but it didn’t make it feel any better. I wanted to write a song that, essentially, said I don’t blame you for anything and I’m not angry...but, sh*t, this hurts like hell.

It is from the E.P., Chorus. Are there particular themes and ideas that influenced the songwriting?

The only real theme running through the E.P. is me. All of the songs written on the E.P. have come from a pretty personal place.

Your music has developed and evolved over the years. How do you feel you have altered as an artist? Do you keep picking up new sounds and colours?

I’m always looking for new things to inspire me and new ways of writing. However, I always get drawn back to that old-school sound. As an artist, though, I feel surer of myself; there seem to be people out there who are enjoying what I do which is giving me the confidence to push myself to make better music. I think this E.P. shows that. I really feel this is the best stuff I’ve put out to date (shock horror. Haha).

When did your attachment to music begin? Did music come into your life early?

I was the biggest Elvis fan when I was about four. I used to dress in shiny pyjamas and put shows on for people. As you can tell, I’ve always been an introvert...

I get a sense classic Blues artists are important to you. Are people like Howlin’ Wolf and Etta James heroes?

In a musical sense, yes. They are legends. Both of their voices are iconic. I’ve always been drawn to music that makes you feel and, when you hear Etta James sing All I Could Do Was Cry; Christ alive, that gets me in the feels!

Also; I defy anyone not to like Howlin’ Wolf. The guy doesn’t sing songs he bites chunks out of them.

Your music has received millions of streams and been heard on T.V. Does that sort of backing and kudos give you huge confidence?!

My parents do stream my songs a lot, yeah (smiles). But, in all seriousness of course it does, yeah. Like I said earlier; it just gives you confirmation that you’re doing something right. But, at the same time, adds that valuable pressure that you need to keep putting out good music.

Where are you heading on tour? Where can we catch you?

I’m playing a headline show at Laylow in Notting Hill on 20th September. Tickets will be available on my Facebook page.

What do you hope to achieve in 2018?

Is world domination too much to ask for?

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

I was broke and I was sofa-surfing/living in my car and I had landed a sync on Suits (Judgement Day). I remember laying on my mate Luke’s floor at about four/five A.M., when it airs in the U.S., and watching my social media just go insane! That was the first time I really felt like, ‘SHHHIIIIIIIITTTTTTTTT, THIS IS HAPPENING’. Those sorts of feelings come few and far between in this industry so I hold on to that one.

If you could support any musician alive today, and choose your own rider, what would that entail?

The hard thing about this question is I’ve been asked it a few times then the person I say goes off and dies, so I don’t know if I should say! Haha. But, Fleetwood Mac would be a dream for me. Especially if we could get Peter Green up for a few tunes; maybe Black Magic Woman or something.

A rider would be no-frills beer, beer and beer (my tastes may become more Rockstar if this E.P. does well).

What advice would you give to new artists coming through?

Be a plumber…

Honestly; do what you want. No one really knows what they are doing – we’re all blagging it - so make stuff that makes you happy and that you want to listen to because there is a possibility your gonna be the only one who ever hears it. But, if it does do something it will be credible and you’ll be happy to stand by it.

IN THIS PHOTO: Son Little

Are there any new artists you recommend we check out?

He’s not really new but I love Son Little. I think he’s amazing! Also; a good friend of mine, Cameron Bloomfield, is a very, very talented young man.

IN THIS PHOTO: Cameron Bloomfield

Do you get much time to chill away from music? How do you unwind?

Love my rugby, love my pubs - so; I do a lot of watching rugby in the pub.

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’ll Make It Up to You - Clay Hammond

_____________

Follow Stealth

Official:

http://www.stealthmusicuk.com/

Facebook:

https://www.facebook.com/stealthmusicUK

Twitter:

https://twitter.com/stealthmusicUK

Instagram:

https://www.instagram.com/stealthmusicuk/

SoundCloud:

https://soundcloud.com/stealthofficialmusic

Spotify:

https://open.spotify.com/artist/6f3R3mqKR3kHp1KBNMUn80

INTERVIEW: Vera Carlbom

INTERVIEW:

Vera Carlbom

___________

THE terrific Vera Carlbom has been discussing…

her new single, Bottoms Up, and filming its video. I ask the Swedish songwriter what the scene is like where she is and whether she is heading on tour this year – Carlbom reveals whether there is more material coming down the lines.

She tells me what she hopes to achieve before the end of the year; what her favourite memory from music is; if the determination and spirit we hear in her music is natural – I ask whether Bottoms Up’s themes of no-good men is taken from her own life…whether she has had experience of those types of guys.  

___________

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

HI! I’m really good, actually. I’ve been sick the last couple of weeks but I’m starting to feel better now so, right now, I’m just enjoying life (smiles).

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

Yes! I’m an eighteen-year-old artist from Stockholm. I’ve been working as a producer, songwriter and artist for a couple years now - and I just released my debut single Bottoms Up. I love to make out on Sundays and my favourite movie is The Adventures of Sharkboy and Lavagirl in 3-D. 

Bottoms Up is your latest single. What is the story behind it?

I wrote that song on the bus and produced it the second I got home; sent it to my producer Jonathan and we both fell in love with it. It’s a song that makes me both laugh and cry. It’s both cocky and vulnerable at the same time. 

I guess no-good men and their dishonesty drives the song. Have you encountered your fair share of idiots and time wasters?

Yes, of course. I’ve met some fuc*ed-up people but none are in my life anymore. I’m all for letting people who don’t deserve me go. 

What was it like putting the video together? Was it interesting to film?

It was SO FUN. We were partying and filming at the same time; that’s why the video looks so real. You really get the feeling that this is something you’ve experienced yourself. 

Is there more material arriving later in the year? Might we see an E.P. down the line?

Yes. I’ve been working on my mixtape for the last couple of months and we’re just finishing up the last touches of it as we speak!

You certainly have a lot of determination and attitude. Is that strength and defiance a reason you keep on pushing and aiming high?

I’ve always believed a lot in myself and my attitude is something I was born with; so aiming for the stars is in my veins. It’s natural for me. 

Being based in Sweden; is there a good music scene there? How does it differ to somewhere like the U.K. and U.S.?

Well. They say that Sweden has the best musicians and I believe that’s true. I just came back from a month in L.A. and the scene is definitely different: it’s harder to have a context there, but L.A. is where I wanna be based in the long-run, so it’s just to get used to it.

Where are you heading on tour? Where can we catch you?

I’m gonna play a little bit everywhere in Sweden this summer, but it would be really cool to play in both U.K. and U.S. anytime soon.

What do you hope to achieve in 2018?

Releasing my mixtape and the singles after it; start touring a little bit and start working and finish my album.

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

Yes. I was in Diplo’s house in L.A. and signed one of his basketballs he has in his kitchen. HOTSAUCE!

_____________

Follow Vera Carlbom

Facebook:

https://www.facebook.com/VeraCarlbom/

Twitter:

https://twitter.com/Vera_Carlbom

Instagram:

https://www.instagram.com/verahotsauce/

YouTube:

https://www.youtube.com/channel/UCG5Iu-bJcJixG74jcAs71XQ

Spotify:

https://open.spotify.com/artist/6h3ninqpmqZ3QXcbFtqGj1

FEATURE: It’s Hard Being Green: Should Music Festivals Do More to Ensure They Are More Environmentally Conscious?

FEATURE:

 

It’s Hard Being Green

ALL PHOTOS (unless credited otherwise): Unsplash 

Should Music Festivals Do More to Ensure They Are More Environmentally Conscious?

__________

WHILST the sun is frying people…

and we are all wiping sweat from our buttocks (sorry to put that image in your head!), we are trying to stage hydrated and, let’s face it, conscious! Many of us complain about the lack of alcohol on a site – the latest gig Queens of the Stone Age was ‘marred’ by long queues for the beer tent – and we often get disgruntled when we are not accommodated and have to wait around. I can understand why people would get annoyed if they cannot get a drink but it is not a case they are being denied water and dying – they can bring bottles of water in. If it was a case of being denied life-saving liquid, then I could emphasise with the plight of the masses: those robbed of instant booze are lower down my list of the abused, denied and heroic. I find we are all carrying too much plastic waste and not being responsible when it comes to waste management and being economical. We might grab a few beers and, each time, a new plastic cup is provided. That then gets put in the bin, or the ground, and it all piles up. Crisps and snacks are bought and that gets placed in the same place – the same can be said for straws and bottles. An article on the BBC’s website looks at festivals and whether they are sustainable/responsible. The piece looked at plastic waste and ways to reduce the burden:

“Examples of single-use plastic items at festivals include:

  Plastic drinks bottles

  Plastic straws

  Plastic food trays

  Cable ties

  Toiletry bottles

The association says their focus is on "reuse not single-use" and to encourage this they will be selling metal water bottles to encourage festival goers to use fewer disposable materials.

Melinda Watson, founder of sustainability charity RAW, said: "Recycling is important, but it is far from the solution".

The issue of festivals and their environmental damage is not a new thing: for years, we have been looking at the effects of the likes of plastic and pollution taking their toll. An article from 2013, in America, looked an issue over there:

“It probably will get worse before it gets better, as the festival circuit continues its rapid expansion. Events like Coachella and Sasquatch now occupy two weekends each, while the trendiest promoters are taking their parties to sea. (And we all know how filthy cruise ships can be.)

Most festivals don't seem to be making big efforts to be green, as anyone who has seen their refuse bins overflowing with plastic water bottles can attest. The behind-the-scenes garbage pile at Coachella, which hosts some 160,000 folks over two weekends, is particularly mountainous, and other large events suffer as well.

"Sasquatch was more like 'Trashquatch.' It was awful," says Tucker Gumber, who attends festivals constantly — he hit 18 of them in 2012 alone — and reviews them on his website, thefestivalguy.com. "The grounds are so pretty, but inside there weren't enough trash cans, there were no cleaning crews coming through, and the trash next to my campsite didn't get emptied all weekend".

IN THIS PHOTO: A scene from Sasquatch Music Festival (which will continue no more, it has been reported)/PHOTO CREDIT: Sam Gehrke

That was five years ago: we are still concerned and not doing enough but it seems improvements are coming in. Recent news has reported how festivals are tackling plastic, especially, and why we need to be more proactive and responsible:

“More than 60 music festivals in the UK have pledged to eliminate all single-use plastic from their sites by 2021 and will also ban plastic straws from this summer. The move has been announced by the Association of Independent Festivals (AIF), whose events include the likes of Bestival, Boomtown Fair and Shambala. The AIF said it was also in talks with festival membership organisations across the UK and Europe with the aim of bringing hundreds more festivals to commit to similar goals by the end of this year”.

I have thrown a lot of data and quotes – the long and short is we are resolved to make big changes regarding plastic and ensure there are fewer cases of pollution and littering. Plastic is a big problem but there are other issues that affect music festivals: pollution from vehicles driven to sites; glitter and accessories from gig-goers; general emissions and pollution; other forms of litter and waste (non-plastic) that can affect wildlife and cause problems – it is a big task tackling it all. The reason I am compelled to investigate ‘going green’ at festivals is down to the way we often nonchalantly discard waste and are not always thinking straight when going about our business.

Most of us would never litter of drop stuff in the street but there are more of us who would feel okay, maybe drink would be involved, dropping cans/bottles or not really looking at our carbon footprint. The BBC article, which I shall quote from again shortly, asked whether festivals could go green and whether we are doing enough to reduce the issue of pollution. With recent festivals like Parklife, Slam Dunk and Field Day having passed; I wonder what the total cost was in terms of the plastic waste, omissions and overall pollution. Measures are coming in to reduce our plastic waste but I wonder how achievable it is – considering the heat our there right now and how many extra pints/bottles we are all taking along?! What is the news regarding vehicle omissions and what we all need to do?

“In the UK, transport accounts for most greenhouse gas emissions at 26%, according to the Office for National Statistics.

And similarly, audience travel to and from sites tends to make up most of a festival's carbon footprint. Cars, lift shares and trains are the most popular forms of transport.

Festival goers might not want to take public transport while carrying the weekend's supplies on their backs. But, with UK audience numbers hitting nearly four million in 2016, live music events might need to take further steps to reduce their emissions”.

Some festivals are already bringing in measures and being aware of their carbon footprint. Burning Man places importance on recycling and composting and has a ‘Leave No Trash’ policy – they still have an issue with transportation and vehicle fumes. Coachella has on-site phone chargers you power with bikes and is using bikes/bike energy as part of its ethos. Bonnaroo uses 100% compostable food-service items and encourages people to bring their own food. The U.S. are making changes and some of their biggest festivals, whilst not perfect, have their own designs and innovations. I am seeing improvements at U.K. sites. There are more recyclable food and drink packages; more areas for waste and rubbish; punters being more conscious of how much plastic they purchase – people are car-sharing and walking to sites. It is not always convenient trekking to a festival but, if you can make changes and cut down on pollution, you definitely should. Festivals will have to comply with laws regarding plastic waste and that will extend to plastic productions – beads and trinkets that are worn for example. I think there are improvements coming in but there need to be bigger stands made. We all need to eat and drink when at festivals but I would expect to see festivals clamp-down on those people with an excess of plastic. Limiting to a single bottle and providing on-site recycling bins would, at least, try to limit a person’s affect. Encouraging more vehicle-sharing and having environmental polices in place would be beneficial.

PHOTO CREDIT: Getty Images

Little motions, rather than huge leaps, can set wheels in motion that can, ironically, stop wheels motioning. That drive to get more people using public transport might be difficult – considering the supplies they haul around – but shuttles between bus/train stations might be an idea. I feel no festival, a major one, can be all-green and cut down completely. What we need to see are organisers looking at the piling landfills and the sheer cost of cleaning up – the staff who have to de-litter and tidy a field after a festival is eye-watering! Many might see it a pain in the arse picking up and being all ecological but, when you look at the financial and environmental impact being felt; there might not be a choice anymore.

Imposing fines on those who contravene on-site laws/regulations would lead to change – it would not be too harsh and is there to protect others and the land where festivals take place. We never think where our litter goes and all that plastic ends up; how vehicle emissions affect the environment and what a post-festival site looks like after a full-on weekend. If we were aware of what others had to face – and what the collective impact on the environment is – I feel there would be that wake-up call. I think, with some tiny movements and gradual changes, festivals can go a long way to being…

A lot greener!

FEATURE: From Beginning to End: 2018-Released Gems That Show the Album Is Definitely Not Dead

FEATURE:

 

From Beginning to End

IN THIS PHOTO: Kali Uchis 

2018-Released Gems That Show the Album Is Definitely Not Dead

__________

THERE have been some terrific records…

IN THIS PHOTO: Superorganism

released to the world this year! I have already collated a list and formed opinions but, since a couple of months have passed; new treasures have come in and it has been a busy time. It is hard to get a grip on all the fantastic music that has come through. In any case; there is plenty of evidence to suggest the album, as an artform, is not dead. We are told people prefer singles as opposed albums: if you can find a wondrous and biblical record then you are compelled to stay with it from the first notes to the last embers. Here is a collection of the best works of this year so far that show the album is very much…

IN THIS PHOTO: Eleanor Friedberger/PHOTO CREDIT: Philip Cosores

IN demand and going strong.

ALL PHOTOS/IMAGES: Getty Images/Press

______________

Kacey Musgraves – Golden Hour

Release Date: 30th March

Label: Mercury Records

Stream here

Review Snippet:

“Less concerned with outside forces than internal balance, Golden Hour stands as an assured, artful snapshot of a particular rush of feelings, but its wisdom speaks volumes to Musgraves’ ongoing evolution. “If you’re ever gonna find a silver lining,” she sang in the first track on her major label debut, “It’s gotta be a cloudy day.” Even then, she suspected that ecstasy is most rewarding when it’s hard-won. On Golden Hour, she wears the sunlight well.” - Pitchfork

Natalie Prass – The Future and the Past

Release Date: 1st June

Label: ATO Records

Stream here

Review Snippet:

“Prass’s voice and writing are more than capable of handling the stylistic shift she’s initiated: indeed, they frequently feel liberated by it. Her usual vocal style is soft and understated enough that it’s easy to overlook what a fantastic singer she is. No danger of that on Never Too Late, where her voice soars without ever dragging out the melismatic fireworks. It’s all about control, and I’ve got lots of it, as Janet once put it.” – The Guardian

Shame – Songs of Praise

Release Date: 12th January

Label: Dead Oceans

Stream here

Review Snippet:

“With Songs of Praise, Shame have smashed through walls with a bold and unflinching manifesto and raised the bar for young bands wanting to make an impact. It’s the sound of politically engaged youngsters living between the cracks demanding to be heard in a society that’s more than happy to look right past them.

Listening to the raucous anthems that bury into your very soul, it feels as magical as something almost on the verge of collapsing can feel. Whip smart, furious and, most importantly, fun, Songs of Praise is the first essential album of 2018. And what an album it is.” – The Line of Best Fit

SOPHIE - OIL OF EVERY PEARL'S UN-INSIDES

Release Date: 15th June

Label: Future Classics

Stream here

Review Snippet:

“’Oil of Every Pearl’s Un-Insides’ retains the innate oddness that sits at the centre of SOPHIE’s work and, as such, is an album that interrogates the nature of pop music as much as it embodies it. Riffing on Madonna’s ‘Material Girl’, ‘Immaterial’ imitates the synthetic claps and drop-chasing patterns of mainstream dance music, and the vocals – provided by Cecile Believe – are hurtled up and down multiple octaves like a plastic bag in caught a gust. Beneath the studied structure – at times, almost a parody of mainstream EDM – SOPHIE’s lyrics concern escaping societal structure. “I could be anything I want/ Immaterial boys, immaterial girls.” - NME

Eleanor Friedberger - Rebound

Release Date: 4th May

Label: Frenchkiss Records

Stream here

Review Snippet:

“The emotional rollercoaster sees her hurtle from “losing my mind to ZZ Top” to achieving some kind of connection in the dreamy love song, Nice to Be Nowhere. It’s all held together by sharp, tunefully lovely songwriting, and the likes of Make Me a Song and Everything are copper-bottomed, classy, euphoric electro pop.” – The Guardian

Lily Allen - No Shame

Release Date: 8th June

Label: Parlophone

Stream here

Review Snippet:

“Rather than worrying about radio play, Allen has made an album that captures the mindset of an artist and a mother approaching a pivotal crossroads. It definitely still has hits – look no further than lead single “Trigger Bang” featuring English rapper Giggs – but it also has a more endearing purpose. With No Shame, Allen has eschewed making an Irish exit from her days as a party girl and instead delivered a eulogy that gracefully buries the past while continuing to seek the sunshine of the future.” – Consequence of Sound

Leon Bridges - Good Thing

Release Date: 4th May

Label: Columbia Records

Stream here

Review Snippet:

“Faster than you can say “A change is gonna come,” Bridges has shuffled things up for “Good Thing,” probably correctly divining that what seemed fresh on the freshman outing would start to look like a one-Cooke-pony stunt by album two. He renewed work in the same vein with the same longtime band that produced and co-wrote the first record before thinking better of it. Instead, he started over with project overseer Ricky Reed, a 2017 Grammy producer of the year nominee whose labors here won’t hurt his chances at a repeat nomination. Reed has wisely kept Bridges’ original crew on board for a few tracks, but brought in a broader range of neo-soul collaborators for the others.” - Variety

Cardi B - Invasion of Privacy

Release Date: 5th April

Label: Atlantic Records

Stream here

Review Snippet:

“Cardi B’s rapping may not be as elastic as some of her peers’, but she’s endlessly daring, comparing her breasts to Beyoncé‘s twins on ‘Money Bag’ and asking Rihanna and Chrissy Teigen for a threesome on ‘She Bad’. She also matches the randiest male rapper with her sexual agency. When she raps “Give him some vag’, I’m gettin’ a bag” on ‘Bickenhead’, it’s one of several ‘Wow, she really went there’ moments. But this doesn’t mean ‘Invasion Of Privacy’ becomes one-note. The way she flips from righteous fury to plaintive desperation on ‘Thru Your Phone’, a track about her partner’s infidelity, is thrilling and palpably emotional.” - NME

Janelle Monáe – Dirty Computer

Release Date: 5th April

Label: Atlantic Records

Stream here

Review Snippet:

“Other collaborators connect Dirty Computer to the best of pop’s now: Grimes brings vibes on the deliciously softcore “Pynk,” tagteaming off Aerosmith’s “Pink” with an amusingly Taylor Swiftian pre-chorus (its liner note credits also shout out “Kali, Sheela Na Gig, Isis, Sheba, Athena, Medusa, Mary … Vagina by Naomi Wolff, Interior Scroll by Carolee Schneemann and the calligraphy of Sun Ping). “I Got the Juice” features kindred spirit Pharrell; it’s a tasty ode to secretions and personal power that nods to Kelis’ Neptunes-produced “Milkshake” while declaring “this pussy grab you back.” Kendrick Lamar cohort Thundercat turns up alongside Wilson on “Take a Byte.” Other current A-list pop co-writers here include Taylor Parks, Julia Michaels, Justin Trantor and Mattman & Robin.” - Rolling Stone

Hookworms – Microshift

Release Date: 2nd February

Label: Domino Recording Company

Stream here

Review Snippet:

“You would have to search far and wide to find a transformation in an already great band that works as well as this. The key to it all is the vulnerability that MJ is now willing to put on display, giving the newfound musical incisiveness the emotional fuel it needs to really fly. If this isn’t one of the albums of the year then we must be in for something special.” – Drowned in Sound

Tierra Whack – Whack World

Release Date: 30th May

Labels: UMGRI/Interscope

Stream here

Review Snippet:

“The triumph of Whack World feels that much more important given the music industry’s stubborn refusal to champion diverse portrayals of women in rap outside of hypersexualized stereotypes. There is freedom in the margins, and Whack has crafted a work that beautifully manifests her own vision on her own terms. The result is brilliant—from the length of the songs down to the exaggerated imagery. Though she springs from a rich stylistic lineage, her 60-second confections have few modern precedents.” - Pitchfork

Courtney Barnett – Tell Me How You Really Feel

Release Date: 18th May

Label: Mom + Pop Music

Stream here

Review Snippet:

“The source of Barnett’s frustration is a moving target though – and she is both fuelled and exhausted by it. Need a Little Time, whose melody is at once bright and flat, feels like a conversation with herself: “You seem to have the weight of the world upon your bony shoulders.” The peppy isolationist anthem City Looks Pretty is conflicted too, dabbling in optimism and nihilism, succumbing to neither: “Sometimes I get sad / It’s not all that bad / One day, maybe never / I’ll come around.”

As much as finding a neat conclusion might lighten that mental load, Barnett has none to offer here. All she can do is show her workings, but leave the problems unanswered.” – The Guardian

Kamasi Washington – Heaven and Earth

Release Date: 22nd June

Label: Young Turks

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Review Snippet:

“The album hits its full, glorious stride during its last several tracks. “The Psalmnist,” a taut, unassailable post-bop theme by trombonist Ryan Porter, sparks one of the sharpest Washington solos on the album, before a virtuoso battle royal between drummers Tony Austin and Ronald Bruner, Jr. The next tune, “Show Us the Way,” opens with a modal crush of piano chords that recalls “Change of the Guard,” from The Epic. It culminates, after a rafters-raising Washington solo, in a refrain by the choir: “Dear Lord,” they sing, invoking John Coltrane, “Show us the way.” – Pitchfork

Nils Frahm - All Melody

Release Date: 26th January

Label: Erased Tapes Records

Stream here

Review Snippet:

“As we turn into the final straight with “Kaleidoscope”, it's clear we are dealing with a composer of profound textural appreciation. The main riff is a cascading arpeggiated pattern that is both spine tingling and compelling. It plants us right back in that rainforest, but this time it's more of a dreamscape - a kind of meditation space between dimensions. It’s astounding stuff from a modern master.” – The Line of Best Fit

Kali Uchis – Isolation

Release Date: 6th April

Label: Virgin EMI Records

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Review Snippet:

“Each song on ‘Isolation’ sounds wildly different from the last, but Uchis proves to be the constant, pulling and manipulating the strings in all the right places. Disco bangers in the shape of Tame Impala collaboration ‘Tomorrow’ brush shoulders with ballads like ‘Flight 22’, via the Amy Winehouse-recalling pop triumph ‘Feel Like A Fool’. Miraculously, it feels in no way forced: it’s a joy to witness her glide into any genre and totally own it.” - NME

Tess Roby – Beacon

Release Date: 20th April

Label: Italians Do It Better

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Review Snippet:

“What standouts most about the record is Roby’s vocals. They are deep and luscious, almost the opposite of her lithe synth work, but also a heady complement. Roby credits this to having spent eight years of her childhood as a member of the Canadian Children’s Opera Company.” - FACT

Field Music – Open Here

Release Date: 2nd February

Label: Memphis Industries

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Review Snippet:

“The driving, funky, sax-honking Share a Pillow could even be their belated answer to David Bowie circa Fame, with Billy Joel’s Uptown Girl drumbeat, were it not a touching ode to struggling to get a child to sleep. Everything comes bundled up in sumptuous production, with terrific tunes, and there’s never long to wait for a killer hook. Short of running naked through the streets of Sunderland, it’s hard to know what else they can do to alert a wider public.” – The Guardian

Florence + the Machine – High as Hope

Release Date: 29th June

Label: Virgin EMI Records

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Review Snippet:

“Stirring violins open “The End Of Love” like a sinister eulogy; Welch’s voice comes in with gorgeously textured harmonies, unfolding elegantly as she details a finished relationship with bittersweet recollections. Finally, “No Choir” is transparently self-deprecating: Welch sings about the fear of lost inspiration as she leaves those wild years behind her and confesses: “I did it all for myself… but the loneliness never left me.” She drifts off on an airy “la da da” as the violins fade until the song is stripped bare, left with just her vocals, sounding lighter and freer than ever before.” – Independent

Boy Azooga – 1,2, Kung Fu!

Release Date: 8th June

Label: Heavenly  

Stream here

Review Snippet:

“Bright, exciting and full of effortlessly intelligent songwriting, ‘1, 2, Kung Fu!’ is an absolute joy to listen to. Wickedly fun, and made to be played on festival stages this summer, it’s short glimpse into the musical landscape of Newington’s mind – and one that we’re pretty bloody glad he shared.” – NME

Superorganism – Superorganism

Release Date: 2nd March

Labels: Domino Recording Company/Hostess Entertainment   

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Review Snippet:

“Wake up wake up wake up,” whispers singer Orono Noguchi in the opening of ‘Night Time’, the last track on Superorganism’s self-titled LP. And that’s exactly what this album will make you do. Open your eyes, refresh your senses and make you woke into a whole synth pop paradise of cola cans being cracked and poured, hushed tones and – you know those sticks that make the noise when you flip them – something like that too.

The disorientating utopian ride you take when listening to this album in full will no doubt bring you glee, and maybe some weird dreams if you think about being a prawn too much.” - CLASH

FEATURE: Pop Art: Michael Jackson: On the Wall

FEATURE:

 

Pop Art

IN THIS IMAGE: Equestrian Portrait of King Philip II (2010) by the American artist Kehinde Wiley is displayed for the first time in the U.K. at the exhibition. The painting is the last artwork commissioned by Jackson before his death/IMAGE CREDIT: Kehinde Wiley/Stephen Friedman Gallery/Sean Kelly Gallery 

Michael Jackson: On the Wall

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THERE are plenty of great music-related…

IN THIS PHOTO: Michael Jackson performs in Germany in June, 1988/PHOTO CREDIT: David Baltzer/Zenit/IAIF/Reduz 

events happening around London – there is one that sticks out as a particular highlight. The exhibition at The National Gallery, Michael Jackson: On the Wall, needs your pennies and bodies. It is a celebration and retrospective that looks at the King of Pop. Following the death of Michael’s father, Joe; it has got me thinking about the departed superstar and what he had to endure. Whilst the new exhibit does not, obviously, allude to Jackson’s childhood and domestic abuse; the fact we all know what happened in that home makes the exhibit more special and needed. All of the Jackson children would have endured some strict and harsh punishment; an upbringing Joe Jackson felt was encouraging and beneficial. Alexis Petridis, writing in The Guardian after his death, looked at Joe Jackson and his different sides:

“Joe Jackson’s legacy is the shaping and promotion of the Jackson 5, comprising his sons Jackie, Tito, Jermaine, Marlon and Michael, and later Randy. The young family band from Gary, Indiana, became a phenomenon in the late 1960s and 70s, with their first four singles, I Want You Back in 1969, and ABC, The Love You Save and I’ll Be There in 1970, topping the Billboard charts.

But Jackson’s legacy is also one of cruelty. In 2003, he told the BBC that he whipped Michael as a child. In 2010, he told Oprah Winfrey that he beat his children with a strap and didn’t regret doing so. “It kept them out of jail and kept them right,” he said. In the 2003 ITV documentary Living With Michael Jackson, the singer told interviewer Martin Bashir that his father would oversee the Jackson 5’s intense rehearsals “with a belt in his hand” and “tear you up, really get you” if one of the brothers missed a step.

IN THIS PHOTO: Acrylic and silkscreen ink on linen portraits by Andy Warhol on display at the Michael Jackson: On the Wall at the National Portrait Gallery on 27th June, 2018/PHOTO CREDIT: Kirsty Wigglesworth/AP Photo

“I just remember hearing my mother scream, ‘Joe you’re gonna kill him, you’re gonna kill him, stop it,’” Michael recalled. “I was so fast he couldn’t catch me half the time, but when he would catch me, oh my god it was bad, it was really bad.” Michael also said his father would taunt him about his “fat nose”, and later told Winfrey he was so afraid of his father that he would sometimes vomit when he saw him. In 1979, Michael fired his father as his manager and took control of his career himself. The rest of the Jackson 5 followed suit in 1983”.

It wouldn’t be much of a leap – reading those words – to realise Jackson’s cosmetic surgery and physical alterations could have stemmed from that childhood abuse. The feeling of inadequacy and not standing out could well have led to the radical and unsettling changes he made to his appearance. In any case; the death of Joe Jackson uneasily conflicts with a celebration of Michael Jackson’s life and influence. Before adding my thoughts; here is a description of Michael Jackson: On the Wall from the National Portrait’s website; they give you an overview of the exhibition:

“This landmark exhibition explores the influence of Michael Jackson on some of the leading names in contemporary art, spanning several generations of artists across all media. Curated by Dr Nicholas Cullinan, Director of the National Portrait Gallery, the exhibition will open in the summer of 2018 to coincide with what would have been Michael Jackson’s 60th birthday (on 29 August 2018).

IN THIS IMAGE: Michael Jackson (1984), a silkscreen, features in a room dedicated to the work of Andy Warhol/IMAGE CREDIT: The Andy Warhol Foundation for the Visual Arts, Inc./DACS

Michael Jackson is one of the most influential cultural figures to come out of the 20th century and his legacy continues into the 21st century. His significance is widely acknowledged when it comes to music, music videos, dance, choreography and fashion, but his considerable influence on contemporary art is an untold story. Since Andy Warhol first used his image in 1982, Jackson has become the most depicted cultural figure in visual art by an extraordinary array of leading contemporary artists. For the first time, Michael Jackson: On the Wall will bring together the works of over forty of these artists, drawn from public and private collections around the world, including new works made especially for the exhibition”.

IMAGE CREDIT: David LaChapelle

There is a lot to view and marvel at – if you are a fan of Michael Jackson or not. It is wonderful to see the King of Pop commemorated and given great tribute by some wonderful artists. Jackson was quite misunderstood through his life and was never far from paparazzi and the media glare. The image we have of him in private – if he ever got it! – differs from the man on the stage and in the recording studio. These artworks look at Jackson in a number of poses and settings; wonderful creations that stick in the mind and open the eyes wide. The reviews have come in and tell you what effect the exhibition has. Time Out gave their thoughts:

“Susan Smith-Pinelo’s dancing cleavage, bouncing to ‘Working Day and Night’ across a series of screens, tells you infinitely more about the man. MJ made the world dance, and in the process opened floodgates of black sexuality and cultural pride. There are plenty of brilliant black artists here. Glenn Ligon paints MJ as a child as if it’s a self-portrait, Isaac Julien uses his face in collages, Auppau Junior Boakye-Yiadom attaches helium balloons to a pair of shoes, leaving them eternally on their tiptoes. This is MJ as a statement of the power and legitimacy of black America, a revolution in pop and culture.

 IN THIS IMAGE: Michael Jackson commissioned Mark Ryden to create the cover for his 1991 album, Dangerous/IMAGE CREDIT: Courtesy Mark Ryden/Paul Kasmin Gallery

But he also represents the absolute excesses of fame. Suddenly, MJ becomes twisted, troubled, fragmented. He’s Jesus in David Lachapelle’s photos, he’s the capitalist antichrist of communism in Dan Mihaltianu’s installation of masks, he’s the modern Baudelaire in Lorraine O’Grady’s photos”.

Will Gompertz offered his views and impressions on the highs and lows - and some notable omissions:

“The elephant in the room - or chimp, I should say - is that the curators were unable to loan any one of the three or four versions of Jeff Koons' famous sculpture Michael Jackson and Bubbles. That's a bit like not having Pele in the best ever Brazilian soccer team, or cutting a chapter out of Great Expectations.it leaves a big hole in the show.

But despite that necessary omission (wittily acknowledged by the curators with a prominently displayed photograph of the sculpture by Louise Lawler, and a satirical take on it by Paul McCarthy) and a scrapbook feel of the display, it is an affecting exhibition.

We bear witness to a sensitive, creative young boy becoming a commodity to be exploited: a Warholian product of popular culture whose soul is used like the fizz in bottle of Coke to add a little sparkle in the lives of thirsty consumers”.

It is great there are these multiple sides and interpretations of Michael Jackson. From the rather sweet yet ambitious projection one gets around his Thriller/Bad days (1982-1987) to the rather inflated and extraordinary images that greeted us on his 1991 opus, Dangerous. Jackson grew into that unstoppable king of the world who saw himself as a saviour and majestic creature. He not only had to fight abuse from his father but discrimination and racism from music T.V. and producers. Seeing Michael Jackson – a then-black artist – on MTV and helping break barriers was a huge step that opened the door for others artists. Ignoring the fact that, in all likelihood, Jackson changed his skin colour to fit into music and not have to face discrimination does not hide what he did and how long he campaigned.

IN THIS IMAGE: The Man in the Mirror room of the exhibition includes this mixed media work by German artist Isa Genzken, Wind (Michael David) (2009)/IMAGE CREDIT: Isa Genzken/VG-Bild Kunst/DACS/Jen Ziehe/neugerriemschneider

The way Jackson saw himself differed, I guess, to the public perception. Aside from the controversies and accusations; there was this man who changed the face of music and, of several decades, was one of the most influential artists of his generation. Rising from the Jackson 5 to the behemoth Pop superstar who ruled the airwaves; it was an exciting, fractious and media-courting ascension that changed lives and, in many ways, changed the music industry. I am a huge fan of Jackson and first encountered his music after the release of Bad – maybe in 1988 or thereabouts. I was captivated by this eccentric, energetic and accomplished human who had that fire and genius songwriting ability; a performer who gyrated and gesticulated in a thrilling and evocative way. When interviewing songwriters; so many of them name-check Michael Jackson and rank his albums as especially influential. He still exerts this pull and power today – nine years after his death – and remains the undisputed King of Pop. From biblical representations to disturbing images; pomp and gaudiness; reality and a man who knew how large his fanbase was – to a tender and free-spirited human who wanted to express himself through music and connect with his fans. It is an extraordinary and intriguing documentation of an artist who inspired other artists (in the painting/illustrative sense) to spring into action and view Michael Jackson in their own…

UNIQUE manner.

FEATURE: For Crying Out Loud: How to Write a Bestselling Pop Song: Is it Possible to Create a Song Without Being Sued?

FEATURE:

 

For Crying Out Loud: How to Write a Bestselling Pop Song

IN THIS PHOTO: Ed Sheeran/ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images/Press

Is it Possible to Create a Song Without Being Sued?

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IF you look at the recent…

IN THIS PHOTO: Ed Sheeran with Anne-Marie/PHOTO CREDIT: Will Beach

news stories relating to Ed Sheeran; it seems suing and legal matters are all you can see! Sheeran is suing a musician after losing £20million in revenue.

“…And now, according to The Sun, the 27-year-old is filing his own lawsuit against musician Sam Chokri, after losing royalties to the song Shape Of You. The tune has allegedly made £20million in revenue, but Ed hasn’t seen a single penny after it was put ‘into suspense’ on 10 May, when musician Chokri claimed the singer had copied his track Oh Why. The Performing Rights Society decide royalty payouts and banned Sheeran from receiving any after considering an expert report submitted by Chokri earlier this year”.

If you feel Sheeran’s lawsuit is an over-exaggeration and a little severe; it seems those suing Ed Sheeran are taking things even further!

“In 2016, after Pharrell Williams and Robin Thicke lost the “Blurred Lines” lawsuit (for the first time), more than 200 recording artists banded together in support of Williams and Thicke because of the slippery slope the original verdict created. Essentially, they argued that forcing artists to pay massive amounts of royalties to other artists who had clearly influenced them—even if there was no direct copying in a song itself—would “stifle creativity and impede the creative process.” The appeals court upheld the original verdict, though, with the dissenting judge noting that Marvin Gaye’s family had managed to both “copyright a musical style” and opened the door for similar legal battles.

Well, it looks like she was right, because lawsuit magnet Ed Sheeran is now being sued for copyright infringement for the third time since 2016. According to Variety, he’s being sued for $100 million in damages for allegedly ripping off “Let’s Get It On” by—of course—Marvin Gaye. The suit accuses him and co-writer Amy Wadge of having “copied and exploited” the Gaye song for Sheeran’s “Thinking Out Loud,” including “the melody, rhythms, harmonies, drums, bass line, backing chorus, tempo, syncopation, and looping”.

One can extrapolate a couple of thinks from the latest lawsuit. It seems the estate of Marvin Gaye, and those associated, have nothing better to do than look at modern Pop artists and see if they are stealing/borrowing the odd note here and there. You have other big acts launching lawsuits but I wonder why Marvin Gaye’s people are so particular about brining inflated, multi-million-dollar suits against anyone who goes near one of the Soul legend’s songs. If you look at Ed Sheeran’s song and listen to Marvin Gaye’s classic; it is not as though the two are dead-similar and duplicates. There are similarities and suggestions but is that enough to take it to court and ask for such a ridiculous amount?! It seems (the lawsuit) has little to do with copywriting and creative possession: it is about bleeding artists dry and taking advantage. I am not a huge Ed Sheeran fan but feel it is unnecessary suing the man for what amounts to nothing much.

We have got to a point where the slightest similarity to another song can get you in court and faced with financial ruination. Sheeran has made a lot of money in his career but that does not provide a motive to go after him and his wallet. I struggle to see what suing people do and how it solves things?! The songs are not similar enough to warrant legal process and it is a bit pathetic Marvin Gaye’s representatives feel they should take these measures. Sheeran, as it has been reported, is no stranger to these kinds of turmoils. The man has had a fairly productive career so, along the way, it is inevitable he will run afoul of someone. If there is an obvious rip-off of a song then, sure, it is only right you take legal action and approach the star. Rather than launching an expensive suit; why not go to them and negotiate when it comes to royalties. Ask them to split royalties, rather than trump some ludicrous lawsuit that asks for a huge amount of money – based on no real-world calculations and sense of common sense. I am not sure how the Ed Sheeran case will play out but I assume he will have to give some royalties to the Marvin Gaye estate/representatives. Earlier this year, we saw Radiohead and Lana Del Rey embroiled in a rather strange lawsuit that really didn’t go anywhere. I wonder whether Sheeran will face the same consequence (getting off) or he will have to part with a few million.

IN THIS PHOTO: Lana Del Rey/PHOTO CREDIT: Robert Carrithers

It seems these legal disputes are started by people other than the artist themselves. Radiohead didn’t go after Lana Del Rey; Marvin Gaye, obviously, didn’t hear Sheeran’s song – it is the people charged with looking after the paperwork and royalties that are taking the trouble to be annoying. What does all of this mean for artists writing songs right now? If you are a Pop artist like Ed Sheeran; do you carefully listen to what is being written and get scared when there are a few notes the same (as another song)?! Ay Wadge co-wrote Thinking Out Loud and Jake Gosling produced – do they get sued, too?! Asylum and Atlantic are the labels who released the album, x, and they are not in the line of fire! Consider, also, the fact Sheeran’s album was released four years ago. How did it take so long for the Marvin Gaye people/lawyers to notice these similarities?! It cannot be that obvious considering Thinking Out Loud has been out for ages and played all around the world! It is ridiculous we have reached a point where lawyers/record labels are going to so much trouble dissecting songs in case they sound similar to their artist’s works. It is not only composition and melody that faces the scorn of those willing to sue. Back in February; this came to light:

“Earlier this month, British-Liberian artist Lina Iris Viktor made a bold statement by accusing Kendrick Lamar of copyright infringement and cultural appropriation. “Cultural appropriation is something that continually happens to African-American artists, and I want to make a stand,” she said to the New York Times, stating the rapper stole her series of gold-patterned paintings, Constellations, and used them in the "All The Stars" video made for Black Panther: The Album. On Wednesday (February 21), the artist filed a lawsuit with not only Lamar, but SZA, who contributed to the song and visuals, too.

Viktor claims she was contacted multiple times by Black Panther representatives asking permission to feature her work. She ultimately refused in order to retain creative control of her art. However, there is a scene in the disputed video that looks an awful lot like Constellations. The 19-second-long segment, starting at the 2:59 mark, shows Lamar walking behind a group of women posed in front of gold-patterned geometric shapes”.

Ed Sheeran settled his last lawsuit – Photograph was accused of infringement and copycatting; he had to pay £16million – and, one suspects, there is another hefty bill coming his way. What irks me is how this kind of event will impact modern music. Will laws change so artists have to put their songs out there and wait until every lawyer and label in the world decides it is clean and original?! There are thousands of songs released every year; we have limited notes, melodies and possibilities when it comes to songwriting and endeavour! How can we create something that is completely fresh and bares no similarities to any other song ever created?! There are tracks that remind one of other songs but, unless it is a blatant and deliberate copy; why would you punish an artist for something accidental?! I guess suing is not new to the music industry: things are getting worse and the sums artists are expected to pay is ridiculous.

PHOTO CREDIT: Unsplash

I quote articles and use other people’s words in my work – as you’ll see in a minute – but credit them and do not mean to pass their work off as my own. In music, we have had seventy years of Pop music and we cannot escape the fact songs will sound the same. There is a difference between someone plagiarising a song and copyright issues:

“When that happens, they will call in a musicologist – but until it is possible to wire your brain into the Spotify database, there is a catch. “We’ll say: ‘This song is similar to another one. Is it too similar and what do we need to change?’ But to go to him in the first place, we need to have already spotted which song the new song sounds like.”

One such musicologist – a forensic musicologist, in fact, and don’t pretend you wouldn’t like that on your business card – is Joe Bennett. Does he agree with the hypothesis that pop might be running out of tunes?

“In cases of melody-based plagiarism disputes,” Bennett says, “melodic probability can be used to ask: ‘How likely are two melodies to come out identically, or very similarly, through coincidence?’ A lot of people assume that identical melodies could be independently generated by separate songwriters, but you don’t need to get very deep into the maths to see why that wouldn’t be true.”

Bennett then goes very deep into the maths, proposing a scenario where he and I each decide to write a melody. “I might start on C and you might start on E – two of the seven notes in the major scale. The odds [against us choosing the same note] aren’t exactly one in seven, but you get the idea. Then you come to the second note: I might choose D, you might choose another E. So then we’ve got a seven to the power of two probability, and that’s just within two pitch choices”.

IN THIS PHOTO: Little Mix

Maybe it comes down to the argument concerning inspiration and the room to manoeuvre. Some artists lack creative depth and intelligence; they will look at other songs and, at times, pinch the odd line or note here and there. I have heard a few songs that sound very samey and one wonders whether the decision, by the recent attempt, was deliberate – they knew what they were doing and chose to ‘borrow’ from the originator. I think, mind, music is so vast and never-ending that we cannot avoid unconscious similarities. Sheeran did not go out of his way to steal from Marvin Gaye; other artists accused of snatching notes/ideas like Little Mix – their song, Shout Out to My Ex resembled G.R.L.’s Ugly Heart, it was claimed – have been under the microscope and raised questions. Look at legends like The Beatles and ask whether some of their early songs sounded similar to other Pop songs or Blues numbers. Are there legal justifications for plagiarism – returning to the previous article – for new artists?

“Interestingly, Bennett goes so far as to suggest that plagiarism could be considered a defensible part of the songwriting process. “It’s a legitimate part of composition,” he states. “You’re creating something that sounds good, while discarding all the ideas you’ve heard before. You might see sculpture as the ultimate metaphor for subtractive creativity; Michelangelo said that every block of stone has a statue inside it and it is the task of the sculptor to discover it.”

 Surely, in that case, it must have been easier for the Beatles? Obviously, they had a knack for a decent tune, but they didn’t have the spectre of 70 years’ worth of popular song looming over every writing session. “Well, I don’t buy that personally,” Bennett says. “Yes, there’s been a lot of pop since the Beatles, but one might say there was more music before. People have been making music for thousands of years. I do believe pop behaves evolutionarily and passes on its ideas to the next generation, but I don’t think that makes it any less likely that songwriters will continue to write original cool pop melodies for ever.”

Not everyone is so sure, however. Someone who does at least partially back up the theory that pop is running out of songs is Radio 1 DJ Scott Mills. “We do this silly feature where the idea is: ‘Radio 1 needs to be worried because we’re a new music station and we’re actually running out of music,’” he says. The feature involves playing similar songs side by side. “Our premise is like yours: surely there are only so many notes, melodies and combinations?”

We will see more lawsuits and court cases come up; big names will be put in the firing line and forced to justify their songs – have they deliberately stolen from their client/artist?! I think things are quite ridiculous now and we need to get out of this culture of suing artists if they have, deliberately or not, taken a few notes or have similar melodies in their music. Maybe artists need to study the law and, if they have doubts, consult a legal team or find a way of avoiding legal punishment. I feel everything comes down to the reality: we have so much music out there; there are limited notes, possibilities and ideas. Artists can cover a song and not have to ask for permission – it is a courtesy – but have to pay millions if they write a track that bears some familiar edges. That seems really stupid. Rather than go after artists like Sheeran and achieve nothing in the process – outside of financial gain –; understand that musicians (most of them) are not trying to rip anyone off but, instead, want to create music that…

TOUCHES people in a direct and emotional way.

INTERVIEW: Benedict Cork

INTERVIEW:

Benedict Cork

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I have been chatting with Benedict Cork…

about his current single, Ghost, and filming its video at Red Gate Recorders. Cork talks about future plans and shares advice for artists coming through; which new musicians we should be listening to; a special memory from his time in music – Cork discusses touring and why he loves to travel.

I ask what it was like working with big names (including Adam Lambert) and what he wants to achieve before the end of the year; the sort of music he listens to away from his own – Cork tells me how he chills and unwinds.

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

I’m really good, thanks. Just moved back to London after a couple of months away and it feels so good to be home. Looking forward to catching up with everyone and everything I’ve missed - and making some new tunes.

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

Sure. I’m Benedict. People call me ‘B’, ‘Ben’; ‘Benedict’ or ‘Benny’. I write kind of soulful piano-led songs and try to tell stories about my life and lives around me in my music. I like to keep it really personal and intimate.

Ghost, your new track, is out there. Is there a story and specific event that inspired the song?

I went through a pretty sad break up last year where we both just sort of fell out of love with each other. There was nothing and no one to blame - and I think that’s almost harder than if someone had done something really hurtful. The song’s about that feeling of always being emotionally connected to someone, even when they’re not physically in your life anymore.

Its video was recorded at Red Gate Recorders. What was behind the decision to film there? Was it a fun video to shoot?

Yeah, so fun! We were scouting venues online to find a really beautiful space and the team were brilliant. I loved the really homely mood of it and all the old artefacts made it feel like I was playing in someone’s living room. We actually recorded five videos in one day, which has then become my first E.P - Piano Tapes - and the next song is dropping next week.

You have worked with the likes of Adam Lambert and MNEK. How much do you take from the artists in terms of disciplines and experience?

I love collaborating. Co-writing is probably my favourite way to make music as you sit there and challenge each other’s ideas and push them to places where you wouldn’t necessarily go yourself if you’re just sitting at the piano and writing on your own. Working with artists like Adam and MNEK is amazing. It’s super-inspiring seeing someone else’s process and how they form their melodies and ideas, especially when it’s super-talented artists who you really respect.

Might there be more material coming later in the year? What are you working on at the moment?

Yeah. The next track and video from the series are coming next week and then the full E.P. will be dropping later in the year. I just got back from L.A. and Stockholm where I was working on loads of new music too. I need to take an afternoon, sit down with a cup of tea and listen to everything to start figuring where I want to go next.

What sort of music do you usually listen to when not making your own? Do you have eclectic tastes?

I try to listen to everything. I love getting friends to send me their playlists so that I discover new stuff all the time. I actually just made a Spotify playlist on my profile called Benny’s Best Beats which has everything I love right now. I was going through it this morning and it’s pretty eclectic.

Where are you heading on tour? Where can we catch you?

We’re actually just finalising plans right this second and should be announcing the first dates in the next week or so. We’re starting with London as it’s my city and I want the first show to be really special. Then, after that, I’d love to go everywhere! I’m a bit addicted to travelling so love the idea of going to loads of new places to play shows.

How does it make you feel when you are on the stage and performing to crowds? Is it your favourite place to be?

Yep, pretty much. The five/ten minutes before hitting the stage I get so nervous. Then, as soon as the first song starts, there’s this weird sense of release where you know you just have to ride the wave and it’s amazing. After about thirty seconds into the first song, I’m having the best time. There’s nothing that really compares to the immediate reaction you get from a live audience. I love working in studios – but, then, feeling it come to life in a live space is pretty awesome.

What do you hope to achieve in 2018?

It feels great getting this first body of work out. I wanna continue working on the next one, collaborate with some of my favourite writers and artists and start playing these shows. I’ve really missed playing live since I’ve been locked away in the studio for so long.

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

Ooo; good question. It would probably be the first gig I ever played which was at the acoustic club in my hometown, Bishop’s Stortford. I must have been around fifteen and played a half-hour set of covers. The local paper wrote a pretty nice review but said it was a shame I didn’t have any of my own songs.

I took it to heart because I’m clearly really sensitive and started writing songs the day after that review came out. So, thanks reviewer person for kickstarting my songwriting career.

If you could support any musician alive today, and choose your own rider, what would that entail?

Ahh; there’s so many. I would travel on Calvin Harris’ jet; take Rihanna’s rider and support Elton John. Does that work?

What advice would you give to new artists coming through?

I feel like I’m a brand new artist too so I’m not sure I can give great advice yet. But, I’d say make sure you’re doing what you love. There was a brief time a few years ago where I was working super-hard but nothing seemed to be working so I ran away to Stockholm, Sweden to just fall back in love with making music again.

I wanted to remember what it felt like to be that fifteen-year-old kid writing a song for the first time and not listening to all the other voices around me.

IN THIS PHOTO: Tove Styrke

Are there any new artists you recommend we check out?

There’s so much amazing new music around at the moment. I love Tove Styrke, Billie Eilish and Moss Kena. The new Jessie Ware album is beautiful. I’m a little bit obsessed with my old flatmate’s band LOVE SICK and my other ex-housemate Yadi just released this awesome body of work with her band Frank Gamble.

IN THIS PHOTO: Jessie Ware

Do you get much time to chill away from music? How do you unwind?

Someone told me the other day that I’m an introverted extrovert. I still have no idea what that means but, apparently, I love being surrounded by good people and I also love being on my own. I go for really long walks around the city alone and chill in an art gallery for the afternoon. It kind of just depends on my mood.

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).

My tune of the week is Whethan – Superlove (ft. Oh Wonder). I’m a big, big fan of both of them.

_____________

Follow Benedict Cork

Official:

http://www.benedictcork.com/

Facebook:

https://www.facebook.com/BenedictCork/

Twitter:

https://twitter.com/benedictcork

Instagram:

https://www.instagram.com/benedictcork/

YouTube:

https://www.youtube.com/channel/UCgfZgd0V1PVf4Lp3mVbBdiQ

Spotify:

https://open.spotify.com/artist/3x2c58AEVAjnJPpuz8ywTv

BLACK-AND-WHITE PHOTOS:

Paul Rusconi

INTERVIEW: Leuca

INTERVIEW:

Leuca

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KICKING off this week is Leuca…

who has been talking with me about his incredible track, Right Now, and working with Mike Green on it. He looks ahead to his E.P., Don’t Tell Me What to Do, and its influences; some newer artists we need to get behind; what he hopes to achieve before the end of this year – Leuca tells me what sort of music he grew up around.

The New York-raised artist shares a favourite memory from his time in music; discusses how he takes time out from music; gives some useful advice to breaking artists – he ends the interview by selecting a rather good song.

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

Hey, Sam! I’m well. My week has been long but very rewarding. I’ve been amped about this release and have received great feedback from it!

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

For sure! My name is Leuca. I’m a twenty-year-old singer/songwriter/rapper/producer born and raised in Long Island, N.Y. I’ve been singing for as long as I can remember but didn’t really start pursuing my own career as an artist 'til around 2015 or so - just a few years!

Can you tell me about the new single, Right Now? How did that come together?

So. I wrote Right Now last summer. I was going through a rough patch in my relationship and I decided I’d write about it. In that same week, I wrote a few different songs concerning the same issue but this one stuck out. Mike Green, the producer of Right Now, and I had been cooking up tracks for months beforehand. We planned on putting out a project and we were in the process of compiling tracks. I brought this song to him as a voice note originally and he literally brought the idea to life.

After that, it was history. It’s been through so many different versions and so many ideas were added to it. But, I’m more than pleased with its final product.

You are working with Mike Green. How did that collaboration happen? What does he bring to the party in terms of guidance and music?

So. Mike and I met through another producer/engineer, EQ IIIrdeye, who executive produced my first project, Soul[o]. Mike came through to EQ’s studio one day and that’s how we met. Mike laid down guitar on a few of the tracks on Soul[o] and, shortly after that we started working together on our own stuff. Mike has definitely been one of the most challenging people to work with in terms of my growth as an artist. He’s brought me out of my comfort zone with songwriting and has helped me a great deal with it.

Along with Mike being an amazing guitarist, he’s an even better producer. So, being in sessions with him and picking his head, I’ve learned so much about production and song formatting as well.

Did he give you a push to record music and take your songs in new directions?

For sure. Without Mike, lots of the new music you hear; this year and for the rest of my life wouldn’t be the same. Like I said: he’s taught me a lot. That was just a matter of a year too, really: 2017.

Don’t Tell Me What to Do is out next month. What sort of themes influenced the E.P.?

Love, definitely. I was never one to make love songs like that. Soul[o] was filled with a bunch of stories and deep analysis of my home life. With this E.P., it’s more care-free and fun. I use the word ‘baby’ a lot (laughs). It’s way more commercial and open than any music I’ve ever made or been used to.  

Did you grow up around a lot of music? How important were those early years?

Music has always been my life and I’ve been involved in plenty, sports, dancing etc. It always circled back to music. I was on choirs all my life in church and later became a worship leader (and still am). One of my earliest memories of music is taking my older brother’s iPod when I was very young and listening to a bunch of Chris Brown. He was basically my idol. My mom always used to play cassette tapes and C.D.s in the house and the car (Alicia Keys and India Arie). I used to memorize so much of it. I’d say, without that kind of stuff, my interest in music wouldn’t be where it’s at today. I’ve always appreciated music.

Where are you heading on tour? Where can we catch you?

I’m not too sure yet. Hopefully, we can book some shows soon. Nothing is set in stone as of right now.

Might we see you in the U.K. at any point?

I’d love to head out to the U.K. and perform. A bunch of random people always hit me up and show love from there all the time. When the timing permits, I’ll definitely be out there.

What do you hope to achieve in 2018?

I’m trying to tour by the end of this year. I know, in 2019, I want to headline. This year, I’d love to support an artist on a tour: East Coast, West Coast; national, any. I’ve literally been itching to do so since the end of 2017. So, I definitely want to add that on my resume by the end of this year.

I also want to release, on top of Don’t Tell Me What to Do, another E.P. entitled Wake Up which is executive produced and performed by me. I want to place myself on the map, live off my music; maybe sell out a bigger venue in N.Y.C. and L.A.; if not by the end of this year, definitely the beginning of 2019. I’ve got myself on a timeline right now.

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

Definitely, one would be opening up for Xavier Omar and Avalon Young at the end of 2016 at Rough Trade in Brooklyn. I was hit up about the show a week prior; Xavier put the word in for me. That’s my brother. I’d never performed original stuff in front of a crowd that big and they were super-inviting, so much love. One of the best nights of my life thus far. I just wish to repeat that kind of experience with my name being the headliner.

If you could support any musician alive today, and choose your own rider, what would that entail?

Kendrick Lamar, Saba and Jon Bellion.

I’m really not that picky. As long as they have some water, tea (peppermint or ginger) and some honey lemon cough drops, I think I’m good. I also love sour candy but that’s terrible for your voice and your face - so maybe I should hold off on that (laughs).

What advice would you give to new artists coming through?

I say this all the time but never give up. If you have a dream, chase after it. I never imagined I’d be in this position and I know this is only a small fraction of all God has for me. Know yourself and know whose advice you’ll be taking into consideration. Not everyone wants to see you win or is looking out for your best interest so always stick to your vision and stay true to yourself.

If you spend too much time listening to everyone else or worrying about what they think, you’ll lose yourself in the process and that’s EXACTLY what you want to avoid here.

IN THIS PHOTO: Sylo Nozra

Are there any new artists you recommend we check out?

Sylo Nozra, Mac Ayres; Xavier Omär and Nakesake.

IN THIS PHOTO: Marc Ayres

Do you get much time to chill away from music? How do you unwind?

Sometimes. I spend a lot of time with my girlfriend. I connect most AND best with her. When I’m not working, I’m most likely either making music or hanging out with her.

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).

Forever Always by Peter CottonTale

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Follow Leuca

Official:

https://leucaworld.com/

Facebook:

https://www.facebook.com/iamleuca/

Twitter:

https://twitter.com/iamleuca

Instagram:

https://www.instagram.com/iamleuca/

YouTube:

https://www.youtube.com/user/imuzicklivingforgod/videos

SoundCloud:

https://soundcloud.com/iamleuca

Spotify:

https://open.spotify.com/artist/3wCg2Idgypg6OjA0uDYctR

Bandcamp:

https://leuca.bandcamp.com/ 

INTERVIEW: UNBLOOM

INTERVIEW:

UNBLOOM

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TO end the weekend…

I have been getting to know UNBLOOM and what inspired his latest track, I Followed. He talks about the reaction following his song, Chances, and where he heads from here – I discover which artists influenced him growing up and why Canada, in his view, has such a varied and vibrant scene.

UNBLOOM talks about touring and unspent ambitions; which new artists/stables we should be looking out for; how he chills away from music – the Canadian artist also provides some handy advice for upcoming artists.

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

Hey! It’s been good; crazy-hectic with campaigning I Followed - but, totally a fun process to hear and see people’s reaction to it! Otherwise, I’ve been back in the studio working on more material.

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

Sure thing! My name is Jonathan Zarola and I write, produce and perform under the moniker ‘UNBLOOM’. I make music that causes people to move, emote and reflect (hopefully, simultaneously. Haha). I write and record everything myself from my home studio.

Your last single, Chances, got a lot of love and support. Did you expect so many people to react to it?

Honestly; you never know what to expect when you release a new song into the world (especially one that is so emotionally-charged and important to your life) so it was unbelievable to see how many people empathised with the song. It’s always gratifying to write music that resonates with people and, even more so, to know that you’re not the only person feeling the way you are.

I Followed is your latest track. Is it a reaction to that success? What inspired the song?

It’s interesting because I Followed was written in that awkward pre-release window where Chances wasn’t released yet but was still very emotionally fresh in my mind and heart. So, in some regards, the two songs share this symbiotic narrative in which both relate to feelings of instability and transition - and really, at its core, I Followed is a song about transition; a song that negotiates the tension between personal passion and societal expectations.

In some ways, the song deals with this millennial dread that seeps in where we start questioning what we want to do in life and what’s next.

Do you reckon there will be even more material coming before the end of this year?

I really believe so, yeah. I have some exciting collaborations in the works and other material that I’m fine-tuning. Releases are as much about questions of strategy as they are execution. I just have to make sure the timing between releases works for me and my team. 

You are based in Canada. Why do you think there are so many great Canadian acts coming through right now?

That’s a good question.

Sometimes, I think Canada has the highest rate of talent per capita than any other country. Haha. It might have something to do with the fact that we are so culturally and ideologically diverse. There isn’t a distinct ‘Canadian’ sound and that, in itself, is a huge asset. We aren’t bound by genre or specific sounds: we just do what we want because we live in a space that promotes anything and everything.

Give me a sense of the artists you were raised on. Do you recall the first album you bought?

My dad fed me a diet of Led Zeppelin, The Who; Jimi Hendrix and other classic Rock albums. I started my music career as a drummer (and he was one too) so that had a lot of influence on the kind of music I was raised on. That being said, I also loved electronic acts like The Prodigy and I remember buying their classic album, Fat of the Land - my dad was pretty into it too. Haha.

It just had this raw energy that I couldn’t articulate into words. I also had a pretty strong Emo phase, but I won’t dive too much into that (*wink*). Haha

Where are you heading on tour? Where can we catch you?

Nothing is booked as of yet but you can expect shows to pop up as I gain some momentum from these latest releases!

Will you visit the U.K. this year and see us?

I would love to! If we see there’s an audience to nurture it, I’ll definitely make it a priority. Otherwise, I’ll see if I can live-stream a set in Canada for you guys!

What do you hope to achieve in 2018?

I think the primary objective is to continue building a loyal and supportive fan-base. I think the best way to do this in the current music landscape is to get featured on large Apple and Spotify playlists. That’s why I always emphasize to my fans to save my tracks to their personal playlists. It’s an algorithmic world and I’m just trying to keep up with it. Other than that, I just hope to continue to get better at my craft and to keep making music that resonates with people.

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

I think I’m fortunate to have a lot of special memories. I remember being featured on Apple Music’s electronic page banner when my E.P., This Could Be Everything/This Could Be Nothing, was released last summer. That was definitely a ‘wow!’ moment. More recently, the legendary DJ TARO spun I Followed on the major Japanese radio channel J-WAVE which was so surreal; he sent me a quick video of him singing along to the chorus and my jaw was on the floor.  

If you could support any musician alive today, and choose your own rider, what would that entail?

Damn; that’s a tough question! I’ll have to go with the amazing Mura Masa. Opening a show for him would be a dream come true (and tons of fun).

I’d probably put some vodka root beers on the rider plus a salt lamp to help me get into the right vibe. Haha

What advice would you give to new artists coming through?

I could go the cheesy route and say ‘Work on your craft; be your own artist etc. etc.’ which is all true but, pragmatically-speaking, save money for each release and budget most of it for P.R. Visibility is king in this industry and simply emailing blogs won’t reap the kind of benefits it used to.

IN THIS PHOTO: EXNATIONS

Are there any new artists you recommend we check out?

If you’re into cool Techno/instrumental tracks, definitively keep Toronto-based indie label Biblioteka Records on your radar and the artists they support. Another group that should warrant your attention is Brooklyn band EXNATIONS - really fun Synth-Pop stuff.

IN THIS PHOTO: Biblioteka Records' The Wonderlust

Do you get much time to chill away from music? How do you unwind?

It can be difficult - because my studio is also my home - but I do make it a point to unwind with my girlfriend and watch shows (we’re really into Suits right now) and spend a bit of time playing some video games (sorry; I’m kinda into Fortnite. Haha)

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).

It was my pleasure, honestly! If you could play EXNATIONS’ Can’t Get Hurt or, if you’re looking for a larger artist, some early Disclosure would be great (my favourite deep cut of theirs is Defeated No More).

_____________

Follow UNBLOOM

Facebook:

https://www.facebook.com/unbloomsounds

Twitter:

https://twitter.com/UnbloomMusic

Instagram:

https://www.instagram.com/unbloom_music/

YouTube:

https://www.youtube.com/channel/UCd1B0hBdz53Aac26YwKHF0w

SoundCloud:

https://soundcloud.com/unbloomsounds

Spotify:

https://open.spotify.com/artist/7A1u4hHjvuw7UAjAkQx7KS

Bandcamp:

https://unbloomsounds.bandcamp.com/releases

INTERVIEW: J Pee

INTERVIEW:

J Pee

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YOU do not meet many artists…

who have the same skills and stylings as J Pee. He is a unique talent and someone I was keen to speak with. He talks about his new album, Who Is J Pee?, and the musicians/albums who inspire him – he tells me whether the state of the planet affects his work and whether he is compelled by modern politics.

J Pee reveals the story behind his latest single, To the Kids That I May Never Have, and why Eminem is an idol; a new artist we need to throw our weight behind; how important Los Angeles is in terms of its people and vibes; what advice he would give to new musicians emerging – J Pee selects a rather unexpected song to end the interview with!

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Hi, J Pee. How are you? How has your week been?

Hi M.M.S.! My week has been wonderful. I spent the weekend in San Jose with my birth-father and his family (I am adopted and recently met my biological father two years ago, so this a pretty new and exciting experience for me and will certainly infiltrate my music at some point! But, I digress (smiles).

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

Absolutely. My name is Jesse Pepe (alias, J Pee), and recently released my debut Rap album, Who Is J Pee? I grew up in Salt Lake City, Utah. I’ve been writing music since my junior year of college. At first, it was a lot of Pop/R&B stuff. For the last five years, since moving to Los Angeles, I’ve done a lot of Lonely Island-type music on YouTube which has done pretty well. The music I’ve written has taken so many twists, turns and iterations but has landed right where I think it was always meant to land, which is Hip-Hop.

In the past, I shied away from taking myself seriously as a rapper because I thought that what I had to say was too ‘out there’: not nearly mainstream enough. I’ve realized that this quality is exactly why I feel so compelled to infiltrate (and, hopefully, be a voice of change within) this genre. I’m excited to bring a new, fresh voice of storytelling to Rap music.

What is the story behind To the Kids That I May Never Have? How did it come together?

They are my own personal opinions of a twenty-eight-year-old man who struggles a lot with societal and biological pressures (which are, sometimes, one and the same). I feel like we as a society don’t question our actions enough - myself included. I’m really trying to dig deeper into my own life and find the source of my thoughts, feelings and actions.

I’ve been spending more time with myself, trying to come to honest answers about certain topics without added societal pressure. I realized that having kids because ‘I’ve just always wanted one’ or ‘That’s just what humans are supposed to do’ didn’t seem like enough to me. Conversely, not having kids because ‘Ew; I hate kids, they’re ugly’ felt too shallow. There are biological and societal underpinnings for pretty much every decision we make and, when you start pulling that thread and unravelling the thoughts, it is the most fascinating thing on the planet.

I’m hoping this song challenges people’s beliefs on the subject and hopefully launches them into their own internal debate on why they do or don’t want children. It’s an important topic to be talking about right now - and an uncomfortable one.

It seems it looks at the modern world and the risks and dangers there. Does the state of the planet affect the way you write?

100%. To be honest, on any given day I feel so much joy, love; guilt, sadness and anger all because of purely existing as a human being. I feel like I’ve been given such a gift to exist on this planet and share it with so many other wonderful human beings. My heart fills with love countless times a day. On the flip-side, I’ll constantly catch myself feeling like I’m nothing more than meat: part of a deep biological system that I can’t escape.

Ultimately, we’re only alive to breed and continue the species; pretty similar to a virus. I feel like the only sure-fire way to prevent the devastation that comes from overpopulation (and we’re already seeing the myriad of repercussions as we speak) is to question our biological programming and ask ourselves if we have the strength to make decisions that aren’t purely dictated by biology. I’m, in no way, saying “Don’t have kids.” I just think at this point, having kids for the sake of having kids; for legacy, out of boredom; because I’m ‘supposed to’…that mindset is dangerous.

Who Is J Pee? is your debut album. What sort of themes inspired the record?

I feel like I spent my first twenty-five years of life not deeply questioning myself, not spending time with myself: I was simply a reactionary human. I felt things and responded. I thought things and responded. I started meditating, I started doing yoga and, as I began to spend more time with myself, I realized that I had been living in a Matrix of sorts; an algorithm. As I spent more time with myself, I started realizing that how I thought I really felt or thought about a certain topic wasn’t always true. I had been programmed to feel that way because of societal pressure, or by a biological default.

I wanted to create an album that represents the new journey that I’m currently on. I want it to feel like you just jumped into my brain for an hour, experiencing the highs; lows, discomfort; contradictions, vulnerability and, most importantly, honesty. Honesty is something new to my life if I’m being honest (pun intended). I’m hoping this level of openness will give others permission to go on their own journey into these uncomfortable human places, without the judgment we (and others) cast on ourselves.

You mix comedic touches with the music. Who would you count as idols? Do you think it is important to mix serious and humorous?

I think Lil Dicky is a game-changer. That dude is (so) unique because he’s so honest about how emasculated he feels in a world that prides stereotypically masculine qualities. Listening to his album was a lightbulb moment for me. But, my biggest influence is Eminem (surprise, surprise). He is a master storyteller. His earlier stuff was so funny, fu*ked up and incredibly honest. His songs have arcs; they have beginnings, middles and ends. They have characters...

He changed an entire genre of music because he was able to take incredibly dark, violent topics and make them relatable. You have to be an active, engaged listener when you listen to his stuff. If you miss a word you miss a part of the story. He crafts his songs in the same way a master comedian like Carlan or Chapelle crafts a stand-up bit.

These guys understand that the majority audience does not want to go there with you because most people don’t like to be uncomfortable. So, you need humour and you need a good story to sever the blow. But, most importantly; they’re going to be more apt to listen to what you have to say.  

I get the sense someone like Eminem has made an impression. Are you a big fan of his music?

Clearly, I did not scan all of these questions before I started answering…

Los Angeles plays a role in your life and music. How vital is the city and its spirit been to you?

The longer I live in Los Angeles, the more I love it. I have an amazingly talented group of friends and an incredible support system. If you are fortunate enough to find a strong community out there, it’s the best thing you could ask for. I’m beyond fortunate in that way. It’s a city full of people who left the comfort of their hometowns to risk something. I love that energy.

I also sometimes hate that energy because it can be incredibly desperate, depressing; competitive and isolating - and there are days where I definitely feel all of those things. The joys of being human!

Will there be any live dates coming up? Where can we catch you perform?

I currently do not have any live show dates coming up. Fixing that A.S.A.P. (smiles).

Do you have any ambitions to fulfil before the end of the year?

I already have the second album written and plan on releasing it before the end of 2018. It’s a really tight seven-song album that delves into toxic masculinity. It’s super-dark, heavy-trap and deals with a lot of really uncomfortable parts of myself. I also have five more music videos in pre-production from Who Is J Pee? and will start releasing them in July.

I’m trying to on a tour with Lil Dicky or Rich Brian by the end of the year. There’s a lot of work to be done to make that happen, so I’ve gotta keep pushing.  

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

Writing the end of Meditation...

I wrote the last two minutes of that song and I remember thinking: ‘Oh, okay; that’s how deep I have to ask myself to go, every time. This is what is required of me if I want to continue to do this in a meaningful way to myself and to others’. That was a pretty pivotal moment.

Which three albums mean the most to you, would you say?

Eminem’s The Marshall Mathers LP

It is probably my favorite Hip-Hop album.

Radius by Allen Stone 

I have no idea how Allen Stone is not a household name. In my opinion, he’s the best singer/songwriter on the planet.

Jingle Cats - Meowy Christmas

Someone legitimately compiled cat meows and assembled them to classic Christmas tunes. My mom bought this for me when I was six and I listened to it SO many times. I’m still blown away that someone went through all that work. How did he find all of those cat meows?! Was he sampling?! Does he have thirty cats?! I still have so many questions. It’s genius.

What advice would you give to new artists coming through?

Spend a lot of time with yourself. Do your best to ‘deculturalize’ yourself (is that word? I don’t think that’s a word). In that strange, exciting and lonely place you’ll start to really get to know yourself (which I’m really enjoying, although it’s terrifying). You’ll start to find what you really think, feel and makes you inspired. Do what inspires you. No matter how bizarre it might feel. If it inspires you it will 100% resonate with someone else. The world doesn’t need your art. There are already too many of us trying this.

That isn’t meant to be pessimistic: it’s actually quite freeing. Because, now, you can stop giving a fuc* about what other people want and do what you want; the way you want to do it. But, you can only find that through spending a lot of time with yourself; asking questions; going down the rabbit hole.

 IN THIS PHOTO: Chuck Acid

Are there any new artists you recommend we check out?

I recently found this Philadelphia rapper named Chuck Acid. He has an L.P. on Spotify called Food for Your Sole. It’s one of the best albums I’ve heard all year. Definitely check him out.

Do you get much time to chill away from music? How do you unwind?

Escape Rooms. I’m absolutely obsessed with Escape Rooms.

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).

Jingle Cats – Silent Night. Just so you guys can experience this. It’s MADNESS.

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Follow J Pee

Facebook:

https://www.facebook.com/jpeemusic

Twitter:

https://twitter.com/JessePepe1111

Instagram:

https://www.instagram.com/jessepepe1111/

YouTube:

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

SoundCloud:

https://soundcloud.com/jpeemusic

INTERVIEW: Son of William

INTERVIEW:

PHOTO CREDIT: Dan Wiebe

Son of William

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THERE is something quite low-key…

and under the radar when it comes to Son of William. Whilst their social media profile is a little limited; the music they are creating is turning heads and standing out! I have been speaking with the Manchester duo about their E.P., Colour of Love, and what influenced the music.

Hayley and Ben discuss Manchester and reveal how they got together; what gigs they have in the pipeline; some new acts to look out for; what advice they would give to upcoming artists – they each pick Folk classics to end the interview with.

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Hi, Son of William. How are you? How has your week been?

Hello. We are well; thank you for asking - we have had a busy week preparing for our E.P. launch.  

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

We are a Folk duo hailing from Manchester - comprising of Hayley Williams (Vocals) and Ben Williams (Vocals and Guitar).

 

Your new E.P. is out. Can you talk about it and what influenced the songs?

Our new E.P. is called Colour of Love. It’s a stripped-back acoustic affair, pretty much as we perform live - with the addition of cello and piano on a couple of tracks. The Civil Wars have been a big influence when writing the E.P., as well as a more traditional Folk and Blues music.

Is there a cut from the E.P. you each gravitate forwards?

Dear Old Acquaintance was a cathartic process. The song is an open letter to someone one of us couldn’t speak to again. Colour of Love is probably our other favourite song from the E.P. That song came together relatively quickly and we found ourselves in an extremely lucid writing process.

 

Are you already working on more material – or do you want the E.P. to bed-in first?

We are currently writing more material and hope to perform some of them at our launch next week. 

How did you get together? When did you start to jam?

We started playing music about five years ago. I was getting guitar lessons from Ben and he was getting vocal lessons from me. There was a natural gravitation into writing music from the off. 

Being based in Manchester; how important are the city and its personality regarding your musical ethos?

The city is extremely important to us - both in its musical heritage and its influence. After living here for a number of years, we both have found the gigging scene to be wholly accepting and versatile for many different styles and genres which, in turn, has allowed us to grow as musicians and hone our craft. We have been able to be musically authentic and have found that we have been able to find our own feet and not had to adhere to certain musical trends. 

You have supported the likes of Simply Red and Chic. How important have those moment been to you?

Ben supported those acts while working as a session guitarist. It was great to experience playing arenas and playing to large crowds - and also have the opportunity to learn from the amazing musicianship in both bands.  

Where are you heading on tour? Where can we catch you?

We have dates coming up in Manchester, Coventry; London, The Lake District and Hamburg at the end of the year. 

What do you hope to achieve in 2018?

We are currently writing for a follow up for 2019 and will hopefully have some festivals booked in by the end of the year. 

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

We have both had many experiences, musically, that have been notable to us in many different ways. One of the most memorable musical experiences was singing for Andrew Lloyd Webber. 

If you could support any musician alive today, and choose your own rider, what would that entail?

Jägermeister, Shetland ponies; chewing gum and hot sauce: we would like to support Joni Mitchell.  

What advice would you give to new artists coming through?

Don’t compare yourself to others in a negative way. Don’t give up too easily. Remain authentic. 

IN THIS PHOTO: Janileigh Cohen

Are there any new artists you recommend we check out?

Janileigh Cohen, Jon Kenzie; Alina Ly, Shunya and Buffalo Brothers.

IN THIS PHOTO: Alina Ly

Do you get much time to chill away from music? How do you unwind?

Music tends to be our hobby as well as our livelihood. We like to cook, do yoga; run, meditate and play Scrabble with alcohol. 

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).

Hayley: Pink Moon - Nick Drake

Ben: A Case of You - Joni Mitchell

_____________

Follow Son of William

Facebook:

https://www.facebook.com/SonofWilliamMusic/

Instagram:

https://www.instagram.com/sonofwilliammusic/

INTERVIEW: DeanKelly

INTERVIEW:

DeanKelly

___________

I have been chilling with DeanKelly…

as he talks about his new work, The MissTape - EP. The Nigerian songwriter discusses some of the ideas/themes on the E.P. and the song that stands out to him; why genres like Afrobeat are so important to him – I ask whether his Nigerian heritage and D.N.A. affects the way he writes and performs.

DeanKelly talks about some of the artists who have impacted him and what he wants to achieve going forward; a few albums that mean a lot to him; what advice he would give upcoming artists – he ends the interview by selecting a great Afrobeat-inspired cut.

___________

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

I’m swell, fam. It’s been great. Thank you.

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

I’m DeanKelly; a singer-songwriter based in Lagos, Nigeria.

What can you reveal about The MissTape - EP? What are the themes that inspired it?

The MissTape, my debut E.P., is something I’ve been working on for some time now and I’m really ecstatic about the reviews...like, a lot of people love the E.P. The E.P. is, basically, about my quest for love (not necessarily true love); love for ‘the now’ (laughs).

While I was composing the E.P., I pictured myself in different scenarios (a club, a street…) where I saw a beautiful girl and making her mine was the only thing on my mind...well, one of the things (laughs). So, these scenarios helped shape the foundation of the E.P. 

It has an Afrobeat heart. Is it a style of music you react to? Does it have a great spiritual importance to you?

Yeah, it is because of where I spent most of my life (Nigeria) I grew fond of Afrobeats and it’s really amazing cus the Afrobeat scene is starting to gain recognition and I’m happy to be a part of it. 

Well; so far, I don’t think I’m spiritually attached to it. I guess time will tell…

You are of Nigerian origin. Do you take anything from the country’s people and spirit for your own music?

Hell, yeah. I infuse my Nigerian origins into my music a lot; from my words to the way I jump on a beat to the instruments used on a beat. The possibilities are endless, especially with Afro-Fusion - when you fuse Afrobeat to foreign sounds.

Was there a moment recording the E.P. that stuck in the heart? Is there a song that stands from the rest?

There are many moments. From the hardship I faced during the period when I was making the E.P.; sleepless nights spent in the studio (laughs) etc. But, the moment that really got stuck in my head was when I was making MonaLisa. The song was inspired by a female friend of mine in an abusive relationship and she wouldn’t leave the guy and it was so sad cus I knew she deserved better. So, yeah, I did a song about it.

There’s a story behind every song on the E.P. To be honest, I don’t have like a favourite song off the E.P. cus I love all the songs - but I noticed I’ve been listening to MonaLisa a lot lately.

What sort of music were you raised on? Were your parents responsible for your love of sound?

It’s funny cus, growing up, I listened to a lot of Céline Dion, yeah (laughs). I remember waking up listening to the likes of Céline Dion, Don Moen; Plantashun Boiz and a lot of music. I’m like this vocabulary of sounds cus I listened to a lot of people growing up (laughs). I can’t list all of them but a few artists that actually inspired me were Chris Brown, T-Pain; 2face Idibia, Wande Coal etc.

Nope, my parents weren’t. I mean, my mom loves singing in the house but she wasn’t responsible for my love for sound. Or maybe she was (laughs). Subconsciously.

Will there be any live dates coming up? Where can we see you play?

Yeah, sure, pretty soon. Just make sure y’all check my site and follow me on social media platforms for more info on that.

Do you have any ambitions to fulfil before the end of the year?

Yeah. I believe one should set goals; it’s kind of a marker for measuring success. With these goals, one can plan and, with strategic planning, results are as achieved...you feel me?! Before the year ends, I want an increase in the number of people listening to my music. I want to perform at events and have fans singing my song along with me out loud (laughs; *exhales*) - one of the greatest feelings ever. 

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

Oh, yeah. A couple but, right now, the one that’s in my head is (one time) when I was performing and people were bringing out their phones to takes pictures and videos. Crazy.

Which three albums mean the most to you, would you say?

Jay-Z – The Blueprint III

Wande Coal - Mushin 2 Mohits 

T-Pain – Three Ringz 

What advice would you give to new artists coming through?

Keep recording, keep working; work hard, work smart and please be humble (laughs). 

Are there any new artists you recommend we check out?

Errr, I don’t (laughs). Just go on SoundCloud: there’s tons of talent on there.

Do you get much time to chill away from music? How do you unwind?

I watch T.V. shows, movies and listen to more music (laughs). There’s no chill for me right now - I’m always working (smiles).

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).

Wande Coal, DJ Tunez – Iskaba. Now, that record is some classic Afrobeat stuff (laughs).

_____________

Follow DeanKelly

Twitter:

https://twitter.com/deankelly_4eva

Facebook:

https://www.facebook.com/Deankelly4eva/

Instagram:

https://www.instagram.com/deankelly_4eva/

SoundCloud:

https://soundcloud.com/deankelly_4eva

Spotify:

https://open.spotify.com/artist/0mwmgPO6Lc564a0xULcsTr

INTERVIEW: UHURU

INTERVIEW:

UHURU

___________

THE guys of UHURU have been telling me…

about their single, Thirsty, and what its origins are. Connor and Rob talk about their formation and whether there is a story behind that moniker; whether there is an E.P./more material coming along – they tell me what it feels like getting backing from the BBC.

I ask them what sort of music influenced them growing up and the new artists we need to check out; if they feel they are hitting a creative peak right now; what advice they’d give upcoming artists – the chaps talk with me about their upcoming gigs.

___________

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

Rob: Yeah, really good. We’ve just come back from the Isle of Wight Festival so we’re both a little tired. But, it’s been really good...

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

We are Connor Daniel and Rob Jones; we go by the name ‘UHURU’ and we’re an Electronic duo based in Southampton!

How did UHURU get together? Is there a meaning behind the name?

We met at college in Southampton. We were on a Music Technology course and we got talking. Connor had been making music for a while and wanted to start a band, so that’s what we went about doing. There have been a few different line-ups over the years but it’s been us two for almost three years now.

Connor: UHURU means ‘freedom’ in Swahili. I’m half-Kenyan and moved to England when I was six, so that’s the connection. It’s turned out to be a pretty fitting name as we’ve flirted with a lot of genres through the years.

Can you tell me how Thirsty came to be? Was it a quick song to record?

Thirsty is about a situation I’m sure a lot of people find themselves in. For me, personally, it’s about that girl who can treat you however she likes…yet, you’ll still run back to her no matter what. The recording process can vary: I write and produce all our songs in my home studio and once there’s a decent quality demo ready, we then take it to our pals at Numen Studios to wrap up the single in terms of a re-vocal, mix and master.

You seem like you’re hitting a creative peak at the moment! Where do you get the energy and inspiration from?!

I’m in my studio pretty much every day producing beats. A lot of the time a vocal melody will hit me in the middle of the process and straight away I’ll be humming away into my phone’s ‘Voice Notes’ app. I also have like a million song concept ideas on my phone so, if I’m ever struggling for lyric ideas, I can start from there.

Is an E.P. or album on the cards later this year?

Rob: We’re currently wrapping up our E.P. We’ve got a few more tracks to (just) record Connor’s vocals and mix and then we’re ready to go with that. We’re both super-excited for everyone to hear what we’ve been working on. We still need to figure out a title for the E.P., though. It always takes us ages with that sort of thing. 

Connor: We’d love an album in the next few years, for sure. We’ve finally released new music after two years and plan on releasing more frequently from now on. Yes, it has taken a while but I’m now super-proud of the material I’ve written and produced (that’ll be hitting your ears very soon).

UHURU have gained focus from the likes of BBC Introducing. Is that sort of support and faith important to you?

Rob: It’s everything to us. We’ve always wanted to hear our tracks on the radio, so to have that support from BBC Introducing is really important to us.

Connor: You never quite get used to hearing yourself on the radio! When Thirsty was given ‘Record of the Week’ by BBC Introducing that really meant a lot.

What sort of music did you all grow up around? Do you share tastes?

I was raised on Michael Jackson, Earth Wind & Fire and Chic. As soon as I was old enough to consciously choose what music I listened to, it was all Hip-Hop - and I’ve been listening to Kanye West for as long as I can remember.

Rob: Our musical backgrounds are pretty different, actually. I was raised on a lot more guitar music: The Killers, Arctic Monkeys; that kind of thing. When I started to discover my own music, though, I was listening to Nile Rodgers and Parliament - some more funky stuff.

Where are you heading on tour? Where can we catch you?

We’re playing in Oxford next month which is new for us, so we’re excited for that. Then, after that, our agent at UTA has a few exciting options for us that we’re looking into - so, you guys will hear more towards the end of the year. Touring is pretty much all I think about and all I talk about; it’s the big one for me.

What do you hope to achieve in 2018?

Connor: Is world domination too much to ask?

Rob: Agreed. But, if that’s slightly ambitious, a tour would be amazing - and our first Radio 1 play would be a real achievement for us.

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

I think when we played at a Holi One Colour Festival at Wembley Park (London) to around 17,000 people. It was a ridiculously big show, the biggest we’ve played by far, and it was just a really good day.

Connor: That was the only show I’ve gotten hideously nervous for…I’m normally pretty calm before gigs but that one got me.

If you could support any musician alive today, and choose your own rider, what would that entail?

Kendrick Lamar for me…I saw him live at the O2 a couple of months back and he had James Blake supporting him. Kendrick’s live show blew me away and the crowd's energy was mental.

The rider would entail champagne and lobster (the champs for after our set of course!). 

Rob: Jungle for me. I’ve never seen them live but I’ve watched hours of live performances from them and they just look incredible on stage.

A rider is not normally a luxury we get but, if we could have one, I think I’d have to go for a bit of gin and tonic for after and maybe a doner kebab for before - just because they’re Heaven on Earth.   

What advice would you give to new artists coming through?

Rob: Just keep going. I think that’s what we’ve learnt, I think. We’ve been going for a few years now and it’s had ups and downs but, yeah; just keep going and you can’t really go wrong.

Connor: Practice your craft, whatever it is: singing, songwriting; producing, guitar or triangle...whatever it is, practice really hard.

 IN THIS PHOTO: Zach Said

Are there any new artists you recommend we check out?

I’m a huge fan of Zach Said’s music at the moment. I feel like he’s way too underrated and needs to be madly famous A.S.A.P. I love his writing style: it’s super-blunt and honest and his producers are ridiculously good.

Rob: There's this guy from Tame Impala, Jay Watson. He's got a side project called GUM I'm really into that at the moment. Just really big-synth-'80s vibes.

Do you get much time to chill away from music? How do you unwind?

I work as well so I don’t get that much free time but, when I do, I like to spend it with family and friends. I spend a lot of time in New Forest, which is a lovely place, but music always seems to creep in. I’ve always got my acoustic guitar with me.

Connor: My parents mean the world to me and will genuinely complain if they can’t hear music blaring out my studio so, sometimes, I have to fight them to turn the volume down and unwind! I have a great squad of mates too that I’ve known since secondary school. None of them are in the same industry as me so it’s really refreshing after a busy week to go to the pub and not talk music for a couple of hours…

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).

Since it’s the day after we played Isle of Wight Festival, I’m feeling pretty lethargic and chilled. So, I’m going to say Daniel Caesar (ft. H.E.R.) – Best Part. The guy has got the most incredible tone and the songwriting is phenomenal

Rob: I think, following the Isle of Wight theme (I think) I might have to go with The Man by The Killers. They headlined and were incredible last night - and this track is a solid-gold tune

_____________

Follow UHURU

Twitter:

https://twitter.com/UhuruMusicUK

Facebook:

https://www.facebook.com/Uhuru/

Instagram:

https://www.instagram.com/uhuru/

SoundCloud:

https://soundcloud.com/uhurumusic

YouTube:

https://www.youtube.com/channel/UCC3_QLX2C1cd7CBrfoMTKVQ

FEATURE: Sisters in Arms: An All-Female, Summer-Ready Playlist (Vol. V)

FEATURE:

 

Sisters in Arms

IN THIS IMAGE: JONES

An All-Female, Summer-Ready Playlist (Vol. V)

__________

I am concluding this all-female…

IN THIS PHOTO: Laurel/PHOTO CREDIT: Andrea Mae Perez

feature by including artists/songs that mix the heat and simmer of the summer. There are some songs that get you a little more chilled and cool you down when needed – a contrast and clash that will nourish the bones and get into the bloodstream. Take a listen to the artists below and let their majestic music get into the head and take you somewhere special. It is a playlist that will get the spirits racing and, when you need it most, take the energy down and…

IN THIS PHOTO: NINA/PHOTO CREDIT: Joakim Reimer 

PROVIDE that gentle soothe.

ALL PHOTOS (unless credited otherwise): Getty Images

_____________

PHOTO CREDIT: Naomi Lee

Freya – Nineteen Hours

FiFi Rong – Awake

PHOTO CREDIT: Lindsay Melbourne

Matilda Eyre – F.Y.A.

Rider - Hurts Me Too

​​​​​​​

Courtney Cooper – Damn

Róisín Murphy - Plaything

Jade Helliwell – Boom Tick

Hazel Iris – Candle

Ailbhe Reddy – Nothing to Doubt

Lauren Marsh – Take Me with You (When You Go)

Sharna Bass - Hit & Run

PHOTO CREDIT: Katie Knight-Adams

NINA – Empire of Love

PHOTO CREDIT: Ebru Yildiz 

Marissa Nadler – For My Crimes

Riva Taylor – My Mouth

Sara Diamond – Fool

Laurel – Same Mistakes

Ina Wroldsen – Mother

Kymberley Kennedy - Don’t Pacify Me

JONES – Silver Screen

Lauren Waller – Can’t See

ESS SEE – Fast Cheap Easy

Shefali – Let U Go

TRACK REVIEW: Elias - Tearing Down the Walls

TRACK REVIEW:

 

Elias

Tearing Down the Walls

9.4/10

The track, Tearing Down the Walls, is available via:

https://open.spotify.com/album/58EPKD5JrMQ70PJD9ndDWq

GENRES:

Pop; R&B; Alternative

ORIGIN:

Stockholm, Sweden

The album, Entwined, is available via:

https://open.spotify.com/album/0ysbz1S6Ml5PdyN4qqsj94

RELEASE DATE:

15th June, 2018

_________

EACH artist I encounter…

has a lot to offer and can provide an interesting angle into the world of music. You never know what you are going to get and it can be fascinating seeing what they come through with. Before I get to Elias; I wanted to look at a few different aspects worth exploring. I will investigate inspirational stories and those who overcome adversity to conquer and strive; music that gets to the point and goes right into the heart; voices that seem to convey so many messages and possibilities; writing that goes deeper and seems to capture the complexities of human existence – a bit about solo artists and those who will continue to do great work and succeed. It is interesting looking at Elias and where he has come from. The Stockholm-raised musician has battled hard to become the artist he is today and faced enough obstacles along the way. I wanted to concentrate on something that you do not hear in a lot of articles and reviews: musicians who have dyslexia. It is not often concentrated on but, in reality, there are so many who suffer from dyslexia. It can be quite mild or, for some, it is very severe and can affect their lives in a very profound way. One of the reasons I have not interviewed Elias is because his dyslexia is very bad. For anyone, this kind of disability can be troubling: for a musician who tries to convey themselves in a written form; that is quite a burden. I say ‘burden’ but it might not be the case with Elias. He handles his condition but it does make some aspects of his life quite difficult. Written interviews are out of the question and the way he must present his music and prepare it differs. A lot of musicians will write music/lyrics and then rewrite/shape them. It is a traditional process and is the way you get from conception to realisation. If you are unable to write – or write easily and proficiently – then what do you do?!

I suffered difficulty as a child when it came to writing and reading. I was late to the game and struggled to convey myself effectively. It was a frustrating and troubling time that got under my skin and made me very unhappy. I can only imagine how hard it is for someone like Elias. Many might say dyslexia is a hindrance that makes songwriting impossible: if anything, the way he articulates himself is a much more direct and human thing. Rather than display his songs in a written and intangible thing; he puts it out there directly and verbally. I am not sure of the exact process but I can imagine it is a mixture of voice processing/recording and some basic jottings. In any case, the way Elias writes his songs is different to many other people out there. My heart goes out to him but one of the other reasons I am so interested in his movements is how direct and captivating his sounds are. We often overlook artists who go through struggles, whether that is an illness or disability, or have some sort of impediment. It is not spotlighted but I wonder whether there are ways to combat that and provide assistance. I am sure Elias manages well but it must be hard, when he has an idea, to get it down straight and have it formed as easily as others. Rather than highlight dyslexia and let it define him; I wanted to congratulate the artist and look at what he is writing right now. It is amazing hearing his music come through and what it does to the senses. There are a lot of artists who write similar music/themes but nothing as stirring and majestic as Elias. You hear so many songwriters out there and it can be hard getting a grip on what is good and what succeeds. In a very hectic and packed world; how do you decide which artists are worth long-term fascination?! I feel Elias is one of those people who sticks around and remains in the brain because his music is so soulful and emotional.

The directness and instancy of Elias is something that defines his music. You listen to a song like Tearing Down the Walls and get a real sense of openness and revelation. He does not hide behind metaphors and disguises his language in meaningless ways. Maybe the way he gets his music onto the page – or recorder – means he is not fettling and endlessly tampering with words to get them right. I have been listening to his new album, Entwined, and each song has a different skin and personality. The common denominator is the way the tracks leap from the speakers and sit in the heart. It is a very special experience listening to Elias and what he is coming up with right now. I am drawn to his spirit and what he has to say. I will look at song derivation and why some artists go that little bit deeper but, before then, it might be worth looking at the state of the industry and how many artists are out there. I think about the issue a lot: the sheer size and breadth of music and how it can daunt the consumer. You have so many options and available avenues; it can be like a blitz or attack. Every week, there are new idols and options for the restless mind. We consume music differently to how we did, say, a decade ago. Now, we are much more about singles and tracks: albums, in their entirety, are less important and featured. I still love to listen to music right the way through but, when it comes to the newer acts; sometimes it is hard listening to everyone’s albums all the way through – there is so much more out there that needs to be investigated! That is not the fault of anyone but it interests me how far we have come in some respects; we have gone backwards in others. I am not sure what will happen to the music industry but it seems now, more than ever, it is tougher to get people to sit down and listen to your work all the way through and keep their minds hooked.

This may seem doom-laden and negative but my point is that there are those out there that sort off stop you in your tracks. It is hard looking out at music and picking those who are going to remain and succeed. You can never make that absolute prediction but there are some you know will remain and continue to do amazing things. Elias’ delivery and songwriting chemistry is different from anything else and makes quite an impression! His voice is soulful, as I said, but it is what he puts out there that compels. His way with words and what he does with subject matter stuns me. It is hard to pinpoint and define in words but you have to listen to the young man and how he does things. It is amazing hearing an Elias song and letting all the notes sink in. Some songs, like the one I am going to review, look at breaking down walls and boundaries. There seems to be an intergenerational divide and clash that affects us all. We all grew up listening to our parents’ experiences and how different it is to today. Even though he is based out of Sweden; the experiences of his parents are going to be similar to us here. My parents went through tough times and grew up in very humble and difficult circumstances. Now, I have the chance to make a better life and have more opportunity. That boundary-breaking spirit is not confined to life experience and domestic situation. What Elias is doing is tearing down the barriers in music and homes. There are no real splits between the music of now – Dance or Pop – and what was out there in the 1970s and 1980s. The same can be said for dancing, living or emotions. Whatever we feel is different now to back then – when our parents were young – it is really not at all. Maybe the economy and state of the world have changed but the roots and building blocks that make us who we are have not altered. Consider what your parents were dancing to or what made them special: that is the same for us and we have more in common than you’d think. These arbitrary and needless walls are placed and we often feel the needs to isolate ourselves from our ancestors. Elias is taking away this division and realises these (walls) is foolish and misguided.

Alongside the themes and stories of togetherness and unity is that central voice that digs very deep and unleashes a wave of emotions. Elias writes about his life and all its strands: the ugly and dirty aspects and the beautiful, bright moments. He understands what his parents felt/feel and knows there is that common link. The words and sentiments put out into the world can be understood by everyone and we all can learn a lot. I have listened to Elias’ album and learnt quite a lot about myself and other people. Maybe that is the way the Swedish songwriter puts his work out; perhaps that voice is what sparks it to life and gets it into the mind. There are singers who can articulate themselves in a potent and extraordinary manner. There is a deep sound but lightness and sensitivity working away. It is a fantastic brew and holds so many colours and diversions. Maybe it is the music he grew up listening to or how he has to adapt to dyslexia and its effect – the way the young man gets his voice out there is extraordinary. There are a few people lucky enough to hold that sort of power and nuance: if you have a talent like Elias; hold onto it and do whatever you can to bring it to the people. The combination of abilities and talented means you will stick with Elias and listen to everything he puts out. Whereas there are one or two songs on Entwined that are not as good as the best; there are no weak moments and you feel like the album, as a whole, is a very worthy and challenging treat. I have been listening back for a few days now and learning quite a lot. It is wonderful hearing Elias sing and what music means to him. The same way he is breaking down walls and keen to join generations through their common experiences; he wants people to bond over his music and learn more about themselves and the world around them.

Maybe I am waffling a bit – but that is what great artists do to you, I guess! What gets to me is how long Elias has spent in the studio and the work he puts in. He has logged thousands of hours and you can hear the progress made on his album. One can see the leaps he has made and how he has improved since his debut single (Revolution). All of his career and progress is on Entwined and you can hear how that time in the studio has strengthened what he is about. As a debut album; that voice scores so many different subjects and colours. Many artists produce an introduction that looks at love, life and things close to them. They say you need to write about what you know, as so, many will talk about their relationships and how they feel. That is all very well but it can be difficult making statements that are any different to your average songwriter. Love and relationships are not as complex as all that and it is easy to feel a little bored by the same words and expressions. Elias talks about human rights, the outside world and something far bigger than what is in his heart. Of course, he feels pains of broken love and the rush of lust but is not all about that. It can be quite bristling and egregious listening to someone pour their heart out for an album and not really changing things up. I understand the intention – to show the listener what makes them tick and defines them – but the world is a huge and complex place. Taking your listeners out of a comfort zone and opening their eyes to something more is much more credible and impressive. It is hard to decipher which artists can offer you that, as there is so much music, but I am always looking for acts who open your eyes and horizons.

Before I move onto a particular song that has caught my attention; I wanted to look at solo artists and a bit about Stockholm. I feel bands are starting to make a comeback and gaining more focus than they did years ago. The tide turned towards solo artists and it has been hard unearthing great bands that have the ammunition to go on and be a success. Maybe that was a phase but now, in 2018, there are some terrific groups who are starting to crack and turn opinion. Maybe it is the fact there are so many solo artists out there is can be challenging to separate them and stick firm. I get sent loads of music from solo artists and I always find something interesting. I can never sit still and spent too much time with someone and, whilst that is a problem for bands too, it is something that affects solo artists. The industry is packed and how long does one realistically have to listen to the music and let it all sink in?! Again, this might sound harsh but there are a few that demand more time and energy. Music is a fickle industry and a tough nut to crack; if you can do that and stand aside from the competition then you are doing something right. Elias has some common threads and movements – the way he sings and the accessibility of his compositions – but he goes out of his way to impress. You get a lot of interesting lines and hooks; some great clashes of upbeat and introverted. He has a bold and passionate soul but is capable of taking things down and being emotional. The same can be said when it comes to the songs and their themes. There is variation and stimulation working throughout. That, coupled with his determination and work ethic means he will be around for a long time and settle in the public consciousness.

Sweden and Stockholm and not areas we often look to but I feel we should all be more aware. I love the nation and wonder whether we spend too much of our time in the U.S. and U.K. There are great European artists emerging and parts of the world we do not focus too much on. Sweden has always produced brilliant artists and has a particular knack when it comes to Pop and Electronic music. The modern breed emerging is keeping the ethics of past masters but mixing so much colour and energy in. I feel the music we witness in the U.K. and U.S. can be a bit samey and commercial. Sweden has the same public demands and charts but the new artists from here seem less concerned with fitting into holes and compromising. The sounds are more free and expressive; they take in more sounds and fabrics and provide more fascination. There is a lot to recommend and, thinking of Elias, he seems to define what Sweden is about and how good its artists are. Look at where music is heading in terms of Pop and Alternative sounds and I wonder whether Sweden will get more attention. By that, I mean the artists coming from here are providing something more emphatic, energised and deep. Not that the music from Britain lacks those qualities: Swedish artists have that extra magic and seem to possess something artists here do not. I feel Pop music is shaping and shifting; it is getting more colourful and holding more emotional weight. You still get commercial stuff and cliché acts but the best of the newcomers are going further and doing something wonderful. I feel the nation deserves more acclaim and focus than it does right now. I am not sure whether Elias is in Stockholm full-time – or based in the U.K. some of the time – but he is doing the country proud and will get more ears and eyes turning the way of Sweden. I have talked enough about Elias and what he is about; looked at various angles and how I feel the young man will develop. I shall come onto a song from Entwined, I feel, defines the album: the celebrated and extraordinary Tearing Down the Walls.

Tearing Down the Walls starts with chanted and echoed vocals. It is a declaration and call that hints at what is to come. The hero steps to the microphone and wonders what would happen if we all ran together and joined forces. I feel, right from the off, there is that need to stop putting boundaries between us and thinking we are all different. We need to face things together and join with one another. Right at the start, you do not know whether the song refers to troubles in the world or it is something more personal. We will run together, it is said, but not be divided. There is that determination to fuse generations and people so we can all face things as one. You cannot listen to the song and feel like modern politics and social divisions are being overlooked. Given the way the world is splitting and how far apart we are drifting; rather than shut people away and feel we need to look out for ourselves; we need to attack and push through as a unit and take away these walls. It is a stirring and powerful message from the songwriter. You get the sense there is a bit of personal mandate in there. Maybe Elias has sat back and looked at how people push away others and feel they need to be independent. We are not that different from previous generations and we all think, broadly, the same way. We dance to the same beat as our parents and the way the world is spitting is not that distinct from decades ago. I wonder whether we learn from the past and are too willing to make mistakes and not take any lessons away. Whether referring to politics or how the young do not look to the past and their parents’ voices; these separations are dangerous and not how we should be going forward.  What I sense, more than anything, is walls being broken down in terms of dance and movement.

You hear the big chorus and words and it seems like it’s a proclamation to get together through music and set things alight. Against all the struggle and turmoil that is happening; we all dance and react to music so that is what we need to do – a way through and a chance to set aside all our differences. The chorus has that big and proud sound that throws everything into the mix and creates spark and colour. I was fascinated by the energy and bold sound coming through. From a more contemplative and cautious verse; the song changes direction and urges everyone to get together and strike. The world might be burning, literally and metaphorically, but we can change things and make a difference. The track starts off with a deep look at what is happening around us and how we place blocks before us. After the first chorus; the mood changes and it seems like a breakthrough has been made. Elias is keen for Tearing Down the Walls to strike a chord and resonate. What we discover is a song that asks why we stands separate and do not willingly join together; how we all seem to look out for ourselves and why we need to change. You have that epic message of togetherness and surrendering to the dance. That is my interpretation and I realise, when you listen, you’ll get something different. However you view the song; it will remain in the mind and compel further listening. I was invested the first time around but have come back and discovered something fresh and unexpected further down the tracks. That is the mark of a great song: it hits you right away but keeps revealing magic and mystery after new spins. Tearing Down the Walls is a standout cut from Entwined and proof the Stockholm artist has a lot more to say in the future. Make sure you spend time with Elias and let the music absorb into the skin and influence the mind.

It has been a very busy year for Elias and his music. The debut album is out in the world and things are starting to hot up. Elias has released E.P.s and singles before but this is his full-length offering and something that will get his music to the wider world. We are becoming less interested in the album as a whole but there are musicians who compel greater concentration and intrigue. You cannot really casually dip into Entwined and sit back: it is a fascinating and fulsome album that requires proper investigation and passion. Because of that, I have not only listened to Tearing Down the Walls and left things there. I recommend everyone get behind the album and spends some proper time investigating, studying and listening. It is a fantastic work that collates all of Elias’ past works and shows what he is about right now. A career-spanning set of tracks that shows how compelling his music is; a brilliant and confident work from someone we will hear a lot of through the years. I am not sure what touring plans he has in mind but I know there will be some gigs here and there. Keep abreast of all his happenings through social media and, if he appears in a town near you; get out there and see what all the fuss is about. Critics have been given love to Entwined and it seems there is an appetite for what is putting out there. I am excited to see what happens next and where the young musician can go. I have written about Elias’ dyslexia and what he has to face; the sort of challenges behind his work and how hard it must be. It seems he copes and finds a way to articulate his music in a very raw and connecting way. I shall leave things here but I have loved discovering Elias and finding out what makes him tick. I hope he comes to the U.K. and plays over here; gets his music out to the world and keeps pushing forward. There are a lot of great solo artists around but there are very few that leave a big a mark…

AS Elias!  

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