INTERVIEW: Germein

INTERVIEW:

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Germein

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THEY are in the midst of supporting Little Mix…

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here in the U.K., so it is a busy and exciting time for Germein. The Australian sisters discuss playing with Little Mix and being in Britain; self-producing their latest track, Talking, and what its story is – the group tell me about their influences and what the music scene is like where they live in Adelaide.

I ask them which artists and albums mean a lot to them; if they get time away from music to unwind and chill; what advice they would provide to artists coming through at the moment – Germein highlight a new act to look out for and choose a few songs to end the interview with.

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

G’day! We are fantastic, thank you! Our week has been crazy-amazing. We are in the middle of a U.K. stadium tour with Little Mix and having the best time.

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

We’re a sibling Indie-Rock pop band from Australia. Georgia plays guitar & keys, Ella plays bass & electric cello and Clara plays drums.

You are all sisters. When did you decide to make music together? Did you share music tastes growing up?

Clara Germein: We started out jamming together on our family farm in the Adelaide Hills, South Australia - putting on little shows for our grandparents and family friends when they’d come to visit. Playing music was always something fun we loved to do together. The first C.D.s we ever got were Celine Dion (Georgia), Shania Twain (Ella) and Kate Cebrano (Clara) - which we listened to on-repeat!

Georgia Germein: Our dad played the trumpet in a New Orleans Rhythm and Blues-style band and introduced us to artists like Ella Fitzgerald, Louis Armstrong; Van Morrison, and Cat Stevens. We grew up going to his shows, which was always very load, energetic and lots of fun. Mum played Classical and Folk music around the house and we were encouraged to have fun and be creative with our music. We sang Ella Fitzgerald’s A Tisket, A Tasket for our first public performance, I think, when I was about six-years-old!

Ella Germein: We didn't watch much TV growing up but, when we did, it was usually Disney movies which, of course, are known for their amazing soundtracks. I think these definitely sparked our interest in the power of music and emotion.

Talking is your new single. Can you reveal the story behind it?

Georgia: Talking takes on a bit of a darker theme with edgy guitar hits, pumping drums and bass - and a soaring break-out chorus showcasing our three-part harmonies. Talking, we hope, can relate to people facing all different types of challenges. Whether it be feeling like you can't express yourself through communication in a break-up, losing a loved one; fighting with a friend or even not feeling like you have the right to talk – which, unfortunately, is true for many people in this world.

Ella: There’s a line in the song, “This silence is killing us”, which, basically, talks about bottling up the fear, anger and frustration to the point of it feeling like its destroying you. There is a cool build-up in this part of the song which sort of reflects that building up and exploding feeling; like that feeling when you stand on the edge of a cliff and just scream out, releasing all the emotions, and after you feel ten times better.

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Is it true this is the first single you produced yourself? Did you feel the need to have more control and say?

Georgia: Yeah. We decided we wanted to start making music on our own terms and so I tried recording and producing Talking myself in our home studio in the Adelaide Hills, South Australia. I’ve always been recording demos and messing with recording gear over the years, so it’s been quite empowering to finally get to the point where I can do it myself. We wanted Talking to sound like ‘us’ and I think we were best able to capture this by producing it ourselves.

Talking was pre-produced by Stuart Gray and mixed by John Castle. When we hit ‘play’ on it, we knew it was the musical vision we’ve had for ourselves finally coming to life.

Looking ahead; might there be an E.P. or album coming along?

Yeah. We’ve got a bunch more songs coming out soon, so stay tuned!

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Being based out of Adelaide; what is the music scene like there? How does it compare to other parts of Australia?

Adelaide’s music scene was our first taste of life in the industry, sparking our huge love for live music and performing. There are lots of great festivals in Adelaide, such as the Adelaide Fringe, which has been named the biggest arts festival in the Southern Hemisphere. There’s also WOMADelaide and Oz Asia, attracting thousands of people to the city to experience the wide variety of music from many different cultures. The Porch Sessions are well-known for transforming backyards into an intimate musical oasis - as well as A Day on the Green, Handpicked and Botanic Park for larger outdoor festivals in picturesque locations such as renowned Adelaide Hills Wineries and Adelaide’s beautiful Botanical Gardens.

You will always find live music in the city anywhere; from the bustling Adelaide Central Markets to the busy streets of Rundle Mall and even as you go to collect your bags at Adelaide Airport there’ll be local muso welcoming you with their tunes. Adelaide was also recently named as a UNESCO City of Music (one of thirty-one cities in the world), which is awarded to cities that have demonstrated excellence in music heritage, music-making; education, community involvement and regular high-profile international music events. Other great Aussie cities for music include Sydney, Melbourne and Brisbane.

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What might one find if they searched your music collections? Do you all have quite a wide range of heroes and heroines?

Ella: We love bands with a strong harmony feel like Fleetwood Mac and Queen; the edginess of Florence and the Machine and The Wombats; plus, the fun energy of iconic female artists from over the years like the Spice Girls, Beyoncé and, of course, Little Mix.

If we could only listen to one album ever again, here’s what each of us would choose at the moment: 

Georgia: John Mayer - Where the Light Is: John Mayer Live in Los Angeles

I just love everything about a live album - and John Mayer’s songs and musicianship are just incredible.

Ella: Kasey Musgraves - Golden Hour

I'm obsessed with this new album of hers. I don't know what it is but it’s just so beautiful the way it's been written and musically created. I just love it.

Clara: The McClymonts – Endless

We do a lot of driving on tour and it’s great driving music. The songs are catchy and feel-good too.

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

Georgia: Arriving at the point of being able to record our own songs ourselves in our home studio. I love the process of recording a new song in the studio and to be able to create something new, add layers and give it personality and heart in my own time is so rewarding. It just makes me even more excited to be able to share these new songs with the rest of the world.

Ella: Playing for the orphans and sick children at the Agent Orange Rehabilitation Centre in Vietnam. It was such a heart-warming experience.

Clara: I just love touring in general. Being able to travel the world and play our own music is such an amazing feeling.

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

Georgia: U2

Ella: Taylor Swift

Clara: 5SOS

Rider: some puppies to play with.

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What advice would you give to new artists coming through?

Have a love of music at the heart of everything you do; create opportunities for yourself to get experience in the industry; don’t be afraid to ask questions - and be yourself.

I believe you are playing dates in the U.K. Which venue/date are you most looking forward to?

We are genuinely excited about every venue we are playing at in the U.K.! This is our first time playing in stadiums, so it’s quite surreal!

You are supporting Little Mix. Have you met them before? Are you excited about playing with them?!

Ella: We had the best time opening for a couple of Little Mix shows last year, so it’s incredible to be invited to back to play fifteen arena shows on their Summer Hits Tour in 2018! They are such a talented and down-to-earth group of girls who are smashing it in the music world at the moment, so we are stoked to be touring with them this July.

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IN THIS PHOTO: Rak-Su

Are there any new artists you recommend we check out?

Rak-Su is a great group of fellas who are also touring with Little Mix, so we recommend you check them out!

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

We mostly unwind by going for a walk or a run, listening to music or watching a movie. Georgia unwinds by playing music or reading; Ella likes to paint and Clara likes taking our dogs for a walk. In Australia, we all like going to the beach and, if there’s time, going surfing.

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).

Georgia: Lose My Mind by Dean Lewis

Ella: High Horse by Kasey Musgraves

Clara: Flames by Sia & David Guetta

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FEATURE: Songs of Freedom and Change: Nelson Mandela at One Hundred: The Playlist

FEATURE:

 

 

Songs of Freedom and Change

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IN THIS PHOTO: Nelson Mandela/ALL PHOTOS: Getty Images/Press Assocation 

Nelson Mandela at One Hundred: The Playlist

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TODAY would have been Nelson Mandela’s…

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one-hundredth birthday and, as you’d imagine, there have been loads of tributes and stories coming through in the news. The great man died in 2013 and, since then, people have been sharing their experiences with Mandela and how he changed their lives. President Barack Obama has just delivered his Nelson Mandela lecture in Johannesburg where he channels the wisdom and humanity of the former South African leader. Obama celebrated the importance of immigration and, in a disguised jab at current President Donald Trump; he called for change and honesty. It is another example of Nelson Mandela inspiring people after his death and how much he gave to the world. Other stories have come out today – including revelations and snippets from the letters he wrote whilst imprisoned for twenty-seven years for ‘conspiring to overthrow the state’. A lot more brilliance and story-sharing will come throughout the day as we discuss a terrific human who wanted peace and quality, not only in South Africa but the entire world. I have compiled some songs written about Nelson Mandela or inspired by him; those that seem to bring his soul and spirit to mind. Many will do a better job - but I felt I had to pay my own tribute to…

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NELSON Mandela.

FEATURE: The Kick Inside: A Radio Documentary Highlighting Gender Divides in Music and Celebrating Female Artists

FEATURE:

 

 

The Kick Inside

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ALL PHOTOS (unless credited otherwise): Unsplash 

A Radio Documentary Highlighting Gender Divides in Music and Celebrating Female Artists

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MY ambition to get a music T.V. show on air…

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continues (and is taking some time to crack!) but I have been thinking about radio and an area I have not ventured into yet. I have not been on T.V., either, but there is something accessible and alluring about radio. Over the weekend, I am exploring the podcast and how one can get their own launched and to the people. I am pitching an idea – to a couple of radio production companies – that revolves around gender divides in music and how/whether there is sexism. It is not a preachy and angry piece but it would look at the current state of the industry and the changes coming in. I have written about sexism in music quite a lot – and will continue to do so – and feel it is something that is not going anywhere at all. The title, something I should address, is not 100% confirmed but seems like an appropriate thing. The name, of course, comes from Kate Bush’s debut of the same name – my favourite record and one I cannot get enough of. The Kick Inside looked at topics such as love, lust and nature; connection to nature and literature…a mature and strong effort from a new artist. In my mind; I want to use the title as a metaphor for the sense of fight and strength that is coming from the ‘womb’ of music. I dabbled with another title, XYZ, but it needs quite a bit of explanation.

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IN THIS PHOTO: Kate Bush (photographed in 1978)/PHOTO CREDIT: Chris Moorhouse/Evening Standard/Hulton Archive/Getty Images

It is a reference to the way a lot of promoters and musical figures reduce women to rather simplistic and anonymous terms – “X, Y and Z is playing at…”, for instance. The ‘XY’ is a reference to the male chromosome and how it tends to take prominence. It might take favour but I feel it is a little bit Byzantine and unconnected. In any case; whatever the title is, I am determined to get something made that collates names from new music. Half of the documentary – or a three-parter if I can stretch it that far – would look at the situation in music and how gender issues have changed in music. I will look at the problems that still exist and what more can be done. Themes would include festivals, sexual assault; jobs in studios and the imbalance regards pay of male and female D.J.s. I have been listening a lot to Woman’s Hour and becoming a lot more informed regards the pay gap and a lot of other issues that are affecting the gender debate. The latest BBC findings regarding their highest-paid talent raise questions and have sparked new debate. Big festivals are unfolding and occurring and, once more, the argument regarding all-male headliners and a gulf between male and female names have provoked some feedback and negative remark. There is a lot to digest but, above all, is a comparison between where we are now and where we started many decades ago.

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I want to bring together a selection of new artists – from unsigned and fresh to those in the mainstream – and some bigger, established artists who have been in the industry for a long time. It would not only be women involved in the documentary. It would be good to get views from male artists, D.J.s and figures that can share their experiences and (perhaps) offer some explanation as to why there are gaps. It is vital to cover as much ground as possible in the opening half of The Kick inside - making me wonder whether a multi-part piece might provide more room to breathe and explore. The other side of the coin, as it were, would be the great music and work of female artists present and past. It is not only musicians that would be involved regarding input and work: I will speak with journalists, D.J.s and public figures (from acting and other areas) who want to add their voice to the debate. The music would explore the decades and a chance for contributors to choose tracks – I would get a say regarding a few of my favourite female-made songs. I am thinking more about a three-part feature so I can have a proper look, in thirty-minute, at great music and a lively debate. It is an interesting subject, sexism and gender in music, that has been explored before.

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PHOTO CREDIT: Getty Images

What I have noticed is the lack of male artists and figures who have broached the subject themselves. Most male musicians and D.J.s want equality and changes but how many of them go out of their way to tackle things and get their voices heard?! Maybe there is reluctance regarding stepping into a rather complicated area and making sure what you/they say is authoritative and adds value. Many/most of those who talk about gender in music are women, and so, many feel unsure whether they will be taken seriously and if it is ‘their fight’. That might be the biggest problem we have: an apathy and assumption that women will take care of the problem. It is complex to launch into the sexism debate but I feel more male figures should be taken a stand and making some noise. Although there are developments right across music; I still think there are challenges ahead and needless stumbling blocks. The reason I wanted to launch a documentary and get the views of women (and men) in music is to unite all the voices I am hearing on social media. There are so many different angles and observations from all area of the industry. Rather than try and take it all in and get different interpretations: bringing it all into a single format with music backing up the discussions, I feel, is a good way to get the messages to the masses.

There are documentaries regarding sexism and feminism available alongside interesting articles that explore sexism in certain parts of the music industry. You can look at the classic documentaries that opened our eyes and more modern examples. In fact, looking at Play Your Gender – a documentary that looked at sexism and the male-female ratio in areas of music – there are some snippets from this review that I will build on. The first explores women supporting women in music and whether many men are willing to support women:

“Clearly much hard work is being done by women to support other women in music production and in the promotion of each others’ music. Although the conclusion of Play Your Gender encourages us to think realistically about how much of a structural shift these initiatives will encourage beyond visibility for performers. For example, male promoters still have a bias towards booking other men, as ”Helena Hauff discusses in an interview with Dazed. So it looks like for a diverse range of women to be promoted in music, there needs to be more to combat men’s preconceptions of the artists that they are booking, or better still find ways of getting women into promotion and tour management roles themselves. Even though women artists may be taken more seriously on stage and by fans, the music production and promotion aspect of their career is still plagued by masculine creative and logistical control”.

Another part of the review reflects on the core of my idea: interviewing women from all corners of the industry – including black and L.G.B.T.Q.I.A. – and seeing whether there is a common perspective:

“Utilising a Q&A format with numerous musicians, fans, neuroscientists, producers and artist managers, Play Your Gender allows a diverse range of women to speak informatively about the gender-specific issues that face them collectively but also differently. The film portrays many standpoints from the female experience; with perspectives included from WOC musicians and lesbian musicians in America. Brooklyn-based musician Xenia Rubinos asserts that diversity or its lack can have a real impact on who feels welcomed into the industry, by stating that “Having examples of people that look like you plays a part in whether you feel inspired… Or not.” But Sara Quin of Teagan & Sara thinks - although not contrastively - that women should toughen up and get used to rejection from the industry. Women are not going to agree on everything, it seems - after all, there is no collective feminist hive-mind as some may like to think”.

There have been some revealing documentaries, on radio and film, that explore sexism and the subject of gender imbalance – whether it is producers (as with Play Your Gender) or festivals and the way they book artists. There is a long way to go but, for me, it is important to add my voice to the discussion and add a new dimension. I hope The Kick Inside sees the light of day and can make its way to BBC Radio 4. If not, I will find a way of making a more low-key version that, I hope, encourages other male journalists to…

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IN THIS PHOTO: Florence Welch (Florence + the Machine)/PHOTO CREDIT: Getty Images

CREATE something similar.

INTERVIEW: Future Generations

INTERVIEW:

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Future Generations

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THE chaps of Future Generations…

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have been telling me about their new single, All the Same, and filming its video. They discuss New York City and what we will get from their upcoming album, Landscape – the band tells me how they got together and whether their latest work differs from their earlier stuff.

I discover what the guys do away from music and which upcoming musicians we should get behind; what they hope to accomplish before the end of the year; whether they all share music tastes – they each end the interview by selecting a song.

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

We’re great! Relaxing after a little tour in June. End of June/early-July is the time we’ve all planned our summer vacation/family obligations - until we get back and start getting ready for the fall tour.

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

We are five fellas looking to inspire future generations with new-fangled Indie-Pop.

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All the Same is out. What is the story behind the song? How did it come together?

We’ve been working on this song for quite some time. We originally recorded it all the way back when we recorded One More Problem but something about it just didn’t sit right. It took us many tweaks and adjustments until we realized that the drums are what needed to be fixed. We took about eight hours straight in the studio going late into the night trying different drum grooves until we decided that the simplest groove was the best.

Sometimes, it just works out that way.

What was it like putting the video together? Was it a pretty eventful shoot?

The shoot was ultra-smooth. We worked with Ken Polyak and Drew Lewis. We had a similar vision for the song: retro party vibes juxtaposed with a dystopian work/school environment. We had a ton of fun and got the chance to connect with a few fans whom we invited via Twitter for the party scenes.

Landscape, the album, is out on 14th September. What sort of themes and ideas inspired the music? Do you each have a standout cut?

Heartbreak, maturity; exhaustion, perseverance and new love. These are the emotional themes behind the album. Musically, there are too many to name but the ‘umbrella theme’ would be challenging ourselves to make the best songs we could. There was never a specific genre, band or sound we were trying to achieve: we just wanted to take each song and bring it to what we thought was its full potential.

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How do you think the album differs from your early work? Do you consciously add new elements in?

We’d like to think of this album as more of a cohesive set of songs. Our first record was a compilation of songs that were recorded throughout a few years. With this record, we had a ton of demos; picked the best twelve or so with our producer and re-worked them, one song per day, for almost two weeks straight in the studio.

What was it like working with producer Justin Gerrish?

The experience was a re-enactment of the movie, Whiplash. Just kidding. It was more like the movie, The Mighty Ducks, and Justin was Gordon Bombay. Aside from being a real talent in the studio and behind the board, Justin was pretty instrumental in encouraging us to experiment and get the songs to places we’re excited about.

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How did the band get together? What was it that bonded you all?

We met in the basement of our freshman dorm at Fordham University in The Bronx. It was the music room (literally, a room with an electric piano) and Eric (with a guitar) stumbled upon Eddie (playing the piano). They started playing and it was going pretty alright but then Mike stumbles into the room with a weird box and some speakers. Turns out, it was a mythological sampling device known as the MPC2000 that would soon develop our sound and be the glue that made our songs come alive - and eventually made us decide that, hey, why not be a band. Soon enough, we landed our first paid gig (out on the quad, paid heavily with Taco Bell crunchy tacos).

When we started playing shows a bit more seriously, we recruited notorious bass legend on campus, Devon. When we started playing even more seriously we recruited our drummer, Dylan, off of craigslist.

Do you all share musical tastes would you say? Have you all discovered artists through one another?

We’re constantly introducing artists and songs to each other. One of the biggest ways we all discover music is through each other. When we’re touring, we like to pass around a phone with Spotify and each put on a song in a playlist for the ride. We’re always taking note of a song we like that some of us haven’t heard.

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What do you hope to achieve in 2018?

Besides becoming the next Def Leppard, we want to visit as many Applebee’s across the U.S.A. as possible.

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

We all have different favorites. One of the best experiences for all of us was our time at Firefly. Seeing Weezer, Muse; The Weeknd, Busta Rhymes and others only mere feet in front of you was so inspiring and joyous. 

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

Dylan: I would play drums for John Mayer.

My rider would include water, red wine; cheese and crackers, steak frites; an Xbox with Call of Duty and a T.V. to view live sports. I think I could ask for all of that playing with him…

Eric: I’d open for Andrea Bocelli.

My rider would include a barbecue and a few hundred hot dogs and hamburgers.

What advice would you give to new artists coming through?

Tour your freakin’ arses off. It’s the best way to grow your fan base and get tight as a band. Do it at any cost.

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IN THIS PHOTO: pronoun

Are there any new artists you recommend we check out?

Side Hustle, Ritual Talk; pronoun, YL; Petite League and Zuli.

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IN THIS PHOTO: Ritual Talk

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

Yeah, definitely. We all have jobs aside from playing music. Typically to unwind, we’ll go to the beach or do some Tae Bo or eat at one of the many fine eating establishing we have here in N.Y.C.

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).

Dylan: Vundabar – Oulala

Eric: Bruce Springsteen - The Ties That Bind

Eddie: Side Hustle - This’ll Never Seem Real

Mike: Lawn - My Boy

Devon: Maggie Rogers - Fallingwater

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INTERVIEW: Jenna Calandra

INTERVIEW:

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Jenna Calandra

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I have been talking with Jenna Calandra…

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about her single, I’ll Be, and what its story is. Calandra reveals the song’s personal background and looks ahead to her self-titled album. I ask what sort of themes and stories will be included on the album; if there is a varied and busy music scene on Long Island, New York; which new/upcoming artist we should get behind – the songwriter talks about her influences and musical tastes.

Calandra talks to me about the ambitions she has for the rest of the year; which musical memory stands in her mind; the advice she would give to artists coming through – she ends the interview by choosing a song that means a lot to her.

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

Hello, Sam! I’ve been absolutely amazing! I’m working on some new music in the studio that I cannot wait to share!

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

My name is Jenna Calandra. I’m twenty-three-years-old; I’m an independent recording artist and songwriter! I live on Long Island, .N.Y. in the Suffolk County area. Music has been my life ever since I was a little girl.

Talk to me about the single, I’ll Be. Is there a personal story behind the song?

My debut single, I’ll Be, is about my personal experience with bullying. I was bullied in school. Kids in my grade would tease me about how I wanted to be a singer; they would call me the meanest names; they would tease me about how I live and where I came from. The song’s storyline is where I’ve accomplished and overcome my fears of making new friends; how much I’ve grown confidence, improvement and growth.

I have grown so much as an artist and person. My scars may be invisible but they are like battle wounds to me. I feel like this song is my anthem of being independent and strong. While I was recording, I was crying through my takes and that’s why I may sound shaky in my vocals. I was crying while I was singing and between the takes. I felt so emotional throughout the whole song. I want to inspire others who are going through bullying with this song and I love performing this song at my live shows I did in the past. 

I understand you are in the midst of making an album. Can you reveal any of the songs and themes that will appear on it? What has it been like putting the songs together?

I am writing this song about my bipolar disorder and having autism. The song I’m writing and recording is about where I was diagnosed with bipolar and autism and I didn’t know who I was at the moment...

But, now, I realized that I am like everyone else - pursuing my dreams and working my butt off. I’m working so hard and these songs changed my life. The themes on the album are about heartbreak, personal struggles; falling in love and being betrayed and judged. I don’t want people to look at me as the autistic girl because I feel judged for who I am every day and I learn to love myself. I look like a typical girl who can get a job and drive a car.

I hate using the word ‘normal’ - so I use ‘typical’. I do have autism and that’s what this album is about: finding myself and loving myself for who I am. These songs are so personal and I can’t wait for someone to say: “I can totally relate to your song”. That would make my day and make my heart happy. I realized I’ve opened up so much on this album and I want people to relate to my songs and lyrics.

Do you recall which song/moment started the album? How did it all get started?

I was writing My Love for You, which is my third single on the album. I was sixteen. It was the first song I wrote for the album. When I was eighteen I wrote Warrior, which is about how much I’ve accomplished and the confidence I’ve found - the album name came about (for these songs) when I was about twenty-years-old. I didn’t start recording professionally until I was twenty-two...and that’s how it all started and came about. I was discussing with my producer about the idea of an E.P. or an album. I told him I wanted to do a self-titled album because there is so much to say in my music and personal stories/struggles. So, then we came up with the title Jenna.

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Long Island is your home. What is the music like there? Are there a lot of great local acts coming through?

I have a lot of musician friends on Long Island. My friend, Ali B., is so talented. She travels all over Long Island and New York City to pursue her music career. Music is great here: we have a lot of music festivals for indie artists and musicians like Alive After 5 music festival. There’s so much to do, musically, on Long Island. I feel like I have connected with a lot of talented musicians here.

Which artists did you follow when you were growing up?

Definitely, Demi Lovato! I would watch her as Mitchie on Camp Rock, which is my favorite childhood movie on the Disney Channel! She inspired me to not give up on my dreams and goals. I want to achieve my goals and make them into reality. Demi Lovato is number-one on my list. She seems like a cool person to hang out with - she is sweet, funny; smart and crazy-talented!

What do you hope to achieve by the end of 2018?

The goals I want to achieve at the end of 2018 are to go on tour (in 2019) to promote the self-titled record. I’m titling the tour I’ll Be Tour and then, maybe, I will title my world tour 'Jenna' after the album. My producer knows music venues and promoters so we will get that going next year! I love performing so much! So stay tuned for tour dates!

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Will there be any tour dates? Where can we see you play?

I mentioned that I will be announcing my I’ll Be Tour sometime next year to promote the album! I’m super-excited. I have to discuss with my producer about the venues I want to play - this has always been a dream, to go on tour. I can’t wait to announce the I’ll Be Tour in 2019!

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

Wow; there are so many memories of my time in music...

I would have to say when I stepped my foot into The Loft Sound Studio where I’m recording my self-titled record. I was recording covers in my first session and then I started recording music and vocals for my debut single. It was so much fun and emotional to record this debut single. This single means so much to me and I’m so glad it’s the single off my debut album. I want people to listen to the lyrics carefully and what the lyrics mean because it tells a story. The reason why I am going to The Loft Sound Studio is because of Madison Beer. She inspired me to make my album with Matt and Donnie, who are the producers of the studio. They are amazing, down-to-earth guys and I am so blessed to be working with them!

Which three albums mean the most to you would you say (and why)?

I would have to say Demi by Demi Lovato; Rainbow by Kesha and Confident by Demi Lovato. I’m telling you; Demi is my bad-ass! She is my favorite of all time. But, her self-titled album inspired me for my self-titled debut. Her songs on that album remind me of mine - because I am writing about my own struggles and experiences. Demi the album is so relatable and inspiring, so that’s why I’m making my own self-titled record.

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

I would support Madison Beer 100%. She is inspired me to go to The Loft Sound Studio where I’m recording for my debut album. She inspired me to be and stay as an independent artist and she inspires me to never give up. I love her song Fools from her new E.P., As She Pleases. I met Madison at the Gramercy Theatre on May 17th, 2018. She was the sweetest and I told her I go to The Loft and I told her she inspired me to go there - which made her feel so flattered and special. She is so special to me and my inspiration.

What advice would you give to new artists coming through?

I would say just be yourself; keep practicing 24/7, keep taking vocal lessons and just do what you love. Doing what you love makes you the happiest person in the world. My motto is “You are beautifully and wonderfully made”, which is a quote from Demi Lovato from her book, Staying Strong. It hit me and I’m always saying to myself: “I am strong, independent and talented”. That’s what that quote means to me and I always stick to that motto. You are beautifully and wonderfully made; you are talented and God has a plan for you. Don’t ever let anyone get in the way of your potential!

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IN THIS PHOTO: Madison Beer

Are there any new artists you recommend we check out?

I think there are a lot of artists you should check out! There is this one artist, Madison Beer. She was discovered by Justin Bieber and she is now independent with First Access Entertainment. She was signed with Def Jam Records. Now I feel like I can be independent because of her and you should check out her recent E.P., As She Pleases!

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

I never stop doing music! During my free time, I practice singing so I can get better; I’m songwriting for the album and I’m always in the studio. I can’t wait to share new music!

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).

Fools by Madison Beer (from the As She Pleases E.P.)

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INTERVIEW: Lunafruit

INTERVIEW:

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Lunafruit

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THE tremendous Lunafruit have set time aside…

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to talk about their latest single, Rise, and what its story is. They talk about meeting one another whilst playing as session musicians in the same studio; how they split their time between Barcelona and London – the guys highlight some upcoming musicians worth a shout.

Lunafruit reveal what they want to achieve by the end of this year; whether there is any more material arriving soon enough; whether they get any time to unwind away from music – the guys each select a song to end the interview with.

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

Hey! Good - our week has been very full and very exciting. We’re in pretty intensive rehearsals for our summer tour at the moment, so really enjoying getting creative with our tracks in a live setting.

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

Sure thing. We’re Lunafruit; otherwise known as Elliot (Guitar, Vocals and Percussion), Sophie (Vocals, Keys and Sax) and Archie (Bass, Vocals and Sax). We’re a trio that sometimes has extra guests and our sound is somewhere between Pop, R&B; Soul and Funk.

Rise is your new single. What is the story behind the track?

Rise is a simple tune about that hazy time between sleep and waking up. We wrote it very quickly in a couple of hours on a summer evening whilst recording in Spain last year. We tried to capture that sense of simplicity in the production of the track - and we’re super-happy with how it’s gone down so far.

Lunafruit formed after the three of you met in your role as session musicians. Were you playing for the same artist – or did you happen to meet at the same studio?

Yeah! We were all working at a studio called Abubilla in South London a couple of years ago and realised we shared musical taste and wanted to make the same kind of music. So, we founded the project and here we are!

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You spread your time between South London and Barcelona. How do the contrasting areas affect your music? What is Barcelona like for music and gigs?

The two cities bring a really different energy to our songs, which were written between the two whilst Sophie was based out there this year. Obviously, in greyer days in London, Barcelona brought out a sunnier side to the tracks and we were really inspired by going to see lots of Latin-influenced music out there. Barcelona’s music scene is a lot smaller than London’s but full of diverse sounds from around the world. The two balance each other perfectly.

I understand there might be more material later in the year. Can you reveal whether that might be an E.P. or another single?

Yep - we’ve got an E.P. in the pipeline for later this year.

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Do you all share tastes in music? Do you recall the artists you grew up around?

Archie listens exclusively to Funk and Disco and resents the band for not letting him wear sunglasses while he plays bass.

If you were sent to a desert island and could only take one album – not nicking this from any radio show or anything! – which would it be and why?

Right now, it would be George Benson. We’ve been listening to a lot of his stuff doing rehearsals and it’s been providing a lot of energy and inspiration.

What do you hope to achieve before the end of 2018?

By the end of 2018, we want to have played a lot of shows, met lots of people and started some collabs. Also, Sophie wants to complete her Grade 3 castanet.

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

Archie once played the recorder with his nose on T.V. Don’t ask.

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

Vulfpeck would be dreamy. Our rider would include a lot of Penguin bars.

What advice would you give to new artists coming through?

Play, play, play. Even the bad ones when no one’s listening.

Where can we see you play? Do you have any gigs approaching?

We’re off to Scotland for some shows there as part of the Edinburgh Festival in August and then we’ve got our homecoming show at Kansas Smitty’s in London on 4th September.

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IN THIS PHOTO: Midas Hutch/PHOTO CREDIT: Fabio de Frel

Are there any new artists you recommend we check out?

Too many to mention! At the moment, we’re really into Midas Hutch, Poppy Ajudha and Emma-Jean Thackray as a starting point.

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IN THIS PHOTO: Poppy Ajudha

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

We’re pretty tunnel-vision on our project at the moment but, when we want some time, out we love going out for a good old-fashioned boogie - and a lazy day in the park always helps.

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).

Sophie: I Am in Love - Jennifer Lara

Archie: Stay for a While – Gibbz

Elliot: Family Affair - Sly and the Family Stone

Cheers!

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Follow Lunafruit

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FEATURE: Blue Meanies and the Liberation of Pepperland: Celebrating Fifty Years of Yellow Submarine

FEATURE:

 

 

Blue Meanies and the Liberation of Pepperland

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IMAGE CREDIT: Getty Images/Press Association 

Celebrating Fifty Years of Yellow Submarine

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ALTHOUGH the soundtrack was released…

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IMAGE CREDIT: Getty Images/Press Association

in January 1969; the Yellow Submarine film was unveiled to hungry audiences on 17th July, 1968. Let’s talk about the music first of all. This was a period between The Beatles’ eponymous album (or ‘The White Album’) and Abbey Road. Those two albums are considered among the very best from the legendary band – Let It Be, their last album (to be released rather than recorded), left some critics cold and was not a huge success. The band was not strangers to film by the late-1960s and had already released the album for the much underrated Magical Mystery Tour – the record was unvalued as opposed the film itself. The boys, in 1968/1969, were winding down their career and knew that the end was not too far away. Many critics were a bit ho-hum regards the album for Yellow Submarine. Some loved the second side – compositions by George Martin – and liked a couple of songs on the first side. George Harrison, perhaps, offered two of the best songs in the form of Only a Northern Song and It’s All Too Much. Yellow Submarine (the title cut) had, obviously, already appeared on a Beatles record: it was part of 1966’s Revolver and seemed weird, but wonderful, on that record. All Together Now is catchy and chat-along but does drag a little bit; the title-track is fun and inventive whereas Hey Bulldog is a so-so rocker – All You Need Is Love is one of The Beatles’ best but sounds a little odd on the Yellow Submarine soundtrack.

George Martin composed second-side pieces like Pepperland and Sea of Monsters; March of the Meanies and Sea of Holes – they all seemed to fit better with the film itself and would have been hard to cause too much offence. Some viewed the aforementioned It’s All Too Much as tessellated and a mantic interweaving – gidouiled and spiralling (Barry Miles wrote that for International Times, in fact). Some debated an E.P. would have been more suitable: release a four-track work that collates the best four songs from the soundtrack. Others felt fans had been hankering for a Beatles soundtrack for a long time and Yellow Submarine came along at the right moment! Some felt, even though the material has a bit of a recycled feel; The Beatles at half-strength is a better proposition than a full-strength peer; others felt Hey Bulldog, in fact, was a stormer. The original compositions and already-heard songs on side-one were okay but everyone seemed to agree on one thing: the George Martin-composed side-two is/was a more fluid and impressive work. I guess, given the content of the film and its trippy nature, non-vocal (for the most part) music was a more suitable accompaniment. Released fifty years ago with a host of screenwriters, directors (for the animation and (brief) live action); the film was launched to the world. There was so much excitement for this tripped-out, colourful extravaganza from the world’s best band – even though The Beatles’ voices were provided by actors (some doing rather dodgy ‘impressions’)! If you need the full plot; I have gone onto Wikipedia to save you the time:

“Pepperland is a cheerful, music-loving paradise under the sea, protected by Sgt. Pepper's Lonely Hearts Club Band. The titular Yellow Submarine rests on an Aztec-like pyramid on a hill. At the edge of the land is a range of high blue mountains.

The land falls under a surprise attack from the music-hating Blue Meanies, who live beyond the blue mountains. The attack starts with a music-proof blue glass globe that imprisons the band. With the band sealed in the globe, the Blue Meanies fire magical projectiles from big artillery stationed in the blue mountains and render the Pepperlanders immobile as statues by shooting arrows or dropping giant green apples upon them (a reference to the Apple Records music label), and drain the entire countryside of colour...

...In the last minutes before his capture, Pepperland's elderly Lord Mayor sends Old Fred, an aging sailor (whom the even more elderly mayor calls "Young Fred"), to get help. Fred activates the Yellow Submarine and takes off in it ("Yellow Submarine"). Old Fred travels to Liverpool ("Eleanor Rigby"), where he follows a depressed Ringo and persuades him to return to Pepperland with him. Ringo collects his "mates" John, George, and finally Paul in The Pier, a house-like building on the top of a hill. The five journey back to Pepperland in the yellow submarine...

...As they start learning to operate the submarine, they sing "All Together Now", after which they pass through several regions on their way to Pepperland:

·         Sea of Time – where time flows both forwards and backwards to the tune of "When I'm Sixty-Four". At one point, the submarine passes itself as it loops through time.

·         Sea of Science – where they sing "Only a Northern Song". Just before the song finishes, they pick up a monster.

·         Sea of Monsters – The monster is ejected into a sea inhabited by other weird monsters. Ringo presses the panic button on the submarine, ejecting him from the submarine and into the sea. He is seen riding one of the monsters, who tosses him around, and with the threat of Native American-like creatures, resulting in John pressing another button on the submarine, sending the US Cavalry to successfully defeat the creatures and rescue Ringo. It is also where a monstrous "vacuum cleaner beast" sucks up all loose objects, creatures, the entire landscape, and finally itself, popping the submarine into a strange empty void...

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Sea of Nothing – This blank region is where they meet Jeremy Hillary Boob Ph.D. ("Phud"), a short pudgy creature with a painted clown face and cotton tail, but a highly studious and helpful ally to the Beatles, who sing "Nowhere Man" in reference to him. As they leave, Ringo feels sorry for the "Nowhere Man" and invites him to join them aboard the submarine.

·         Foothills of the Headlands – Thanks to Jeremy, this is where he and the Beatles are separated from both the Submarine (and Old Fred) and where John sings "Lucy in the Sky with Diamonds". Pepper (foreshadowing that Pepperland is yet to come) causes the beings in the Headlands to sneeze, blowing the Beatles and Jeremy into the Sea of Holes.

·         Sea of Holes – Here, Jeremy is kidnapped by one of the Blue Meanies patrolling the outskirts of Pepperland. Ringo thoroughly investigates one of the endless number of holes and puts it into his pocket. While searching for Jeremy, Ringo jumps onto a green hole which turns the Sea of Holes into a Sea of Green. From here, the group arrives in Pepperland, followed by Old Fred and his Submarine...

Reunited with Old Fred and the submarine, they look upon the landscape: a sorry sight. The beautiful flowers have become thorns, and the once-happy landscape now a barren wasteland. Everyone is immobilized and made miserable by the evil Blue Meanies, only able to move when permitted (such as when the Meanies feel like bullying them). The Beatles, camouflaged as Pepperlandian cutouts, dress up as Sergeant Pepper's Lonely Hearts Club Band and reacquire (steal back) some instruments (their own instruments were lost in the Sea of Monsters) from the warehouse where the Meanies impounded "all things that make music". The four are discovered at the last second (Ringo accidentally steps on a bagpipe) and a clown Meanie sounds the alarm, causing the Beatles to flee hastily from the Meanies' vicious multi-headed (and multi-bodied) dog. Once in the clear, after defeating some apple-bonkers, the four rally the land to rebellion, singing "Sgt. Pepper's Lonely Hearts Club Band", eventually forcing the Blue Meanies to retreat...

...The Chief Blue Meanie retaliates, sending out his main enforcer, the Dreadful Flying Glove, but John easily defeats it by singing "All You Need is Love". Pepperland is restored to colour and its flowers re-bloom, as the residents, empowered by the Beatles' music, rise up and take up arms (flowers) against the Meanies, who are fleeing headlong back to the blue border mountains where they came from. The original Sgt. Pepper's Lonely Hearts Club Band are released (thanks to the hole carried in Ringo's pocket from the Sea of Holes) and Ringo rescues Jeremy. The Beatles then have a rematch with the four-headed Meanie dog, singing "Hey Bulldog", with the Beatles victorious once again (This scene was in the UK version). The Blue Meanies are forced to retreat, and the Chief Blue Meanie tries to save face by killing Jeremy, but Jeremy performs some "transformation magic" on him causing the Meanie to sadly concede defeat. John extends an offer of friendship, and the Chief Blue Meanie has a change of heart (partly due to the "transformation magic" performed by Jeremy) and accepts. An enormous party ensues, where everyone sings "It's All Too Much" with everyone living happily ever after...

...At the end, we see the real Beatles in live-action, having returned home, playfully showing off their souvenirs: George has the submarine's motor, Paul has "a little 'LOVE'" and Ringo still has half a hole in his pocket (having supposedly given the other half to Jeremy, which Paul offers to fix "to keep his mind from wandering", a reference to "Fixing a Hole"). Looking through a telescope, John announces that "newer and bluer Meanies have been sighted within the vicinity of this theatre" and claims there is only one way to go out: "Singing!" The quartet obliges with a short reprise of "All Together Now", which ends with translations of the song's title in various languages appearing in sequence on the screen, which concludes with the words "Released through United Artists" on the bottom-right-hand-corner of the screen”.

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IN THIS PHOTO: The Beatles/PHOTO CREDIT: Getty Images/Press Association 

Two soundtracks from the film have been released: the second, in 1999, contained all the songs from the film except A Day in the Life. Apart from the odd original composition (like Only a Northern Song); fans got a mixture of Beatles classics from their recent albums. It was a head-swelling, mind-tripping film that showed a new side to the band and was really well received. Although a few retrospective reviews have scored down the film and felt it has not aged well; at the time, there was a huge swell of love for the Beatles masterpiece. Even if the soundtrack was a little muted in terms of the band’s best; few had any complaints regarding the film itself! It is remarkable to think there is so much love for the fifty-year-old film! We have this ongoing fascination of The Beatles and digest everything from them. Like their albums; we hold their films in high esteem, even if they have produced some pretty average ones (Magical Mystery Tour, for one!).

Special screenings are occurring today – check search engines to see if Yellow Submarine is playing near you! – and revel in the brilliance, giddiness and wonder. This year will see another fiftieth anniversary for The Beatles: their eponymous album was released in 1968 and will be met with a lot of acclaim, respect and special shows. I am annoyed I do not have time to get to a cinema but will buy the film from Amazon and watch it as soon as I can. We have not really seen any real equivalent to Yellow Submarine since 1968. Some bands have had films made about them but nothing as phantasmagorical and spellbinding as Yellow Submarine. Even if the boys’ career had reached its real last peak and was threatened with a steady decline; the film, Yellow Submarine, was a reminder of what the band could achieve and why they were so loved.

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IMAGE CREDIT: Getty Images/Press Association

Even though we only get to see a brief glimpse of The Beatles (at the very end); a new wave of affection came through and swept the world. Have a look at the film and, if you can, get to a cinema and see it on the big screen! Listen to the album and listen to all the gems and pleasures waiting within. There are plenty of times ahead we can mark a Beatles anniversary and celebrate one of their terrific works. Today belongs to Yellow Submarine and a film many of us wouldn’t have been able to experience the first time around (in 1968). I defy you to watch the film and not hum the title-track until…

YOUR voice runs dry

FEATURE: Is This America? How Perspective and Direction Can Be Gained from Artists Regarding Gun Violence in the U.S.

FEATURE:

 

 

Is This America?

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PHOTO CREDIT: Unsplash 

How Perspective and Direction Can Be Gained from Artists Regarding Gun Violence in the U.S.

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LAST night…

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IN THIS PHOTO: Sacha Baron Cohen (right) in a sketch for Who Is America?/PHOTO CREDIT: Showtime

saw Sasha Baron Cohen’s latest project, Who Is America?, hit the screens. In it, he played a range of characters who, essentially, dupe idiotic U.S. figures – politicians, for the most part – into endorsing arming toddlers and children with guns. As the series progresses, he will fool high-profile politicians like Sarah Palin – perhaps not the hardest thing to do considering the sort of thing that comes out of their mouths! It is shocking seeing how easily these people open to up to Cohen’s characters and endorse the most ridiculous thing – whether it is guns camouflaged into soft toys or the idea of arming those as young as four! Whilst it is disturbing hearing and seeing such casual and reckless attitudes to guns; some critics have made a point: is it revelatory or does it already confirm what we know about many U.S. politicians (mostly Republicans)?! The Atlantic reviewed the opening episode of Who Is America? and had this to say:

“The big, shocking capper of Who Is America?’s first episode sees Cohen’s character Erran Morad, an iron-jawed Israeli gun activist, coax several current and former members of Congress into endorsing a program that would arm kindergarten students. People like former U.S. Senator Trent Lott, Rep. Joe Wilson, former Rep. Joe Walsh, and gun lobbyist Larry Pratt are filmed reading ludicrous prepared statements peppered with lines like “Our Founding Fathers did not put an age limit on the Second Amendment!” It’s a gotcha moment meant to underline the blind extremism of ideology—but is that something American viewers really need further confirmation of right now?”

There have been similarly mixed reviews that applaud the boldness of Cohen but wonder whether we are learning anything new. It will be interesting to see how the series progresses and what we can learn. It is hard, at a time when gun violence is at a shocking high and the ignorant Trump is in office, to find real solutions and breakthrough. Gun violence in the U.S. is as old as the nation itself: from Abraham Lincoln’s assassination to the ongoing and unending high-school murders; we have struggled to get to grips with the sheer volume of tragedies in the U.S. I realise gun violence is not a problem limited to America. Most nations on Earth, in some form, have to deal with gun violence but it is especially pronounced in the U.S. – especially such a powerful and influential world power. This current political incarnation (in the U.S.) is not going to further the calls for a ban on gun sales. The fact we have Donald Trump in office at the moment means the problems are as rife as ever – someone who feels owning a gun and ‘defending yourself’ is a right and is inalienable. Musicians have always been at the forefront when it comes to addressing the issue – mainly black artists, it has to be fair. Gun violence affects every community but it is the minorities of American that tend to suffer worse.

Whether that is a problem of social poverty or police brutality; there is a definite sense and spine of racism in America. Whilst a lot of high-school shooters, and victims, are white; police shootings have shown how there is a definite sense of discrimination and racism that has disgusted the world. A lot of poorer communities are seeing gun-related deaths rise; one-off attacks are going off – such a scattershot and frightening range of problems to address. Whilst mental-health is a subject and contributory factor; it is hard to find a common link and solution. Musicians are, to me, among the most power and influential people out there. We all remember Childish Gambino’s potent and extraordinary video for This Is America. The video was only released in May but had already received three-hundred-million views on YouTube. The video sees Childish Gambino in the forefront, dancing and smiling. In the background, there is carnage and riot; we see a scene of a man being shot in the head by Childish Gambino – all the while, there is a blend of blasé and shocking. Kendrick Lamar tackled gun violence and hypocrisy – being singled out as a terrorist or gang member – on his albums, DAMN. and Good Kid, M.A.A.D City. WIRED wrote a piece following the release of Childish Gambino’s video for This Is American and nailed it alluring appeal:

“Working under his rap pseudonym Childish Gambino, Glover, like Walker, suggests a story of impossible escape. It’s tough work, blood-soaked and vacant redemption, but—and here’s where the artifice begins to reveal traces of brilliance—it’s playful and soul-moving to the point one only wants to keep peering into its dark interiors, waiting for the next truth to sprout”.

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IN THIS PHOTO: The tracklist for Kendrick Lamar's album, DAMN./PHOTO CREDIT: Getty Images

It is the most striking and talked-about video we have seen in many years. It got me thinking back to the Folk protest movements of the 1960s and '70s when Bob Dylan was singing about war masters and political deceit; the anti-war artists proffered peace and love over arming troops and taking innocent lives. The idea of protest and musical rebellion got tougher and more inflamed by the time groups like N.W.A. and Public Enemy broke through. From the (mostly) white Folk artists offering a peaceful, if angered, plea for calm and togetherness; the new wave of Hip-Hop artists were a more fierce and direct example. From Public Enemy’s calls to fight the power and N.W.A.’s observations of police violence and racist attacks – artists have always been able to offer direction and perspective. A lot of the advice from artists – from the Folk agents to Hip-Hop heroes – has centred around greater awareness and care. It is not about vengeance and striking back at those who perpetrate murders and continue to keep gun violence in the press. Whilst the need for common sense and a change of the law has been a consistent vein running through decades of music; the way artists are discussing gun violence now has changed. The piece I have just quoted talks about Childish Gambino’s video and its climax:

“…And in this, his ultimate trick is his most nightmarish. Throughout the video, Gambino and the school children are the lone people untouched, dancing with the history of Jim Crow alive in their feet, contorting and romping, faces plastered with sly, elastic grins. But it turns out to be a mirage—in the final flash, Gambino’s character is seen manically fleeing down a dark hall, a mob at his back. With harrowing clarity one last note boils, then pops: even when you play their game, they still turn on you. "This Is America," unlike so much protest music, ends as it began—with death, pain, blood. We never know what exactly comes of Gambino, but Young Thug’s closing lyrics bear the impact of a dagger. "You just a big dawg, yeah/I kenneled him in the backyard".

The message is clear: ignorance and accepting what is happening is not going to be a solution. Activation and education are needed; people to stand up and do something. Whilst the actual solution to gun violence might be years away (or impossible at any time) pacifism and turning a blind eye will not improve anything. Songs like This Is America do not point at easy answers and say how we can end gun violence and ensure peace come to the U.S. (and the world). It might be a lot to ask that of musicians but, right now, artists like Kendrick Lamar and Childish Gambino are providing perspective and forcing us to open our eyes. Music videos are a powerful tool and can be more influential and revelatory than any political speech or news report. I feel, too, a lot of the powerful messages and call for action is coming from a very specific area of music. Black artists of music might have seen their race and people suffer the worse violence but, look at the statistics, and gun-related deaths affect everyone. I wonder whether more artists should be tackling the state of America and the endless spate of attacks. Maybe many feel they lack conviction or knowledge but that would be foolhardy – one need not be a gun expert or know the inner-workings of the N.R.A. (National Rifle Association) to realise what madness there is. The important thing to consider is bringing the subject to the people and getting them out of the assumption staying quiet will see the problem go away.

It is debatable how much constitutional change has been achieved from musicians’ messages but a well-timed song or extraordinary video can open up channels and educate. There are always those who will say music and certain genres have always had a rather spotty association with guns. Some have accused U.K. Trap music of influencing those who carried out gun-related murders in the capital earlier in the year. Others look at the so-called glamorisation of guns and that lifestyle in Hip-Hop videos as fuel for those who carry out murders and school shootings. If people think musicians are endorsing guns and saying it is ‘cool’, then that is motive enough to shoot. This debate has been going for decades and is usually aimed at the film and video game industry – are we all so impressionable we will copycat scenes of gun violence we see on our screens?! Another interesting article looked at those in the Rap and Hip-Hop communities not only opposed to changes in gun laws but culpable when it comes to associating guns with fashion and a normal lifestyle:

“Unfortunately not every rapper believes in supporting the changing gun laws. On Saturday (while not in attendance at a #MFOL event) Killer Mike appeared in an NRA video voicing his support for gun ownership. The division of rappers on “conscious” issues affects their persona and their music. Artists who take time in their discography to discuss gun violence can be considered conscious rappers, while artists who use guns in their music to show they mean business are classified as gangster rappers. It’s rare to see someone who creates a gray line between.

As Gangsta Rap was born out of Compton in the 1980s, aspiring rappers tried to follow N.W.A. by not only voicing their reality on police brutality, but their fashion, including a bandana and a glock on their hip. While these defining characteristics poised questions towards gang culture and not always about the music, guns became a centerpoint for toughness in the streets.

Their ability to take a life or at least to scare an unwelcome beef away, created a persona of being untouchable to outside groups”.

I think there is a long way to go regards galvanising people on the issue of gun violence and bringing it to an end. There are even splits and divisions in the music industry which leads me to believe there will always be those out there who feel gun ownership is intractable and acceptable; shootings are either a form of defence or a reality of living in certain communities. It is hard to change everyone’s voting habit but it is clear artists are not lying down and watching these senseless killings. There has been a blindness that has run through music (and society) for a long time. I posed the question regarding music as a whole and why more artists have not spoken out against the horror we see on the news. They need not be American and do not need to be a Hip-Hop artist: any artist is entitled to their say and is capable of provoking reaction. The crucial message that has been common music since the 1960s to the current time is sitting there and expecting change to come will achieve nothing. So much discussion has opened up on the strength of a single music video alone. Childish Gambino’s masterful This Is America – directed by Hiro Murai - has scorched its images and messages into the eyes and minds of everyone who watched the video. It is a protest for action and awareness; that America’s gun problem is not going away and the only way we can ever hope to see any change and improvement is…

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PHOTO CREDIT: Unsplash

TO come together and speak out.

INTERVIEW: Two Legs

INTERVIEW:

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Two Legs

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I have been learning more about Two Legs…

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and his terrific new track, Grin. He gives me the lowdown on the song and talks about the possibility of more music. I ask where we might catch him play and the artists who inspire his sound – Two Legs recommends some upcoming musicians we would do well to follow.

I was keen to ask what music means to Two Legs and what he hopes to accomplish before the year is through; what he does when not making music; three albums that have made a big impression him – he shares a favourite memory from his time in music.

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Hi, Two Legs. How are you? How has your week been?

It's been the best week of my life. Thank you for asking. 

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

Hello everyone. My name is Two Legs and I produce Electronic music and I sing - and it's really great!

Did you watch the England game (semi-final) in the World Cup? What did you think of the result?!

I watched all the England games; it was great fun. But, ultimately, there are thirty-one losers in the tournament and we just became one of the many.

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Your single, Grin, is out. Can you tell me what the story behind the song is?

Grin is my first co-written release. The verse was written a few years ago by my mate Francis Kershaw under the alias 'Odd Socks'. Then, recently, I was making some beats and his verse line popped into my head. I then worked on a chorus, structure and, luckily, Francis approved of the final product. 

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The track is about letting things build up internally without speaking out about how you feel. In that sense, it looks at how our whole world is internal and how rarely we get to see this hidden part of each other in any full clarity. 

It is your third release of the year. Do you think there might yet be more material arriving before the end of 2018?

Yes, definitely. The attention span of the music industry moves so quickly; you have to keep up with it with regular releases. I've got loads of demos, so I'm just fine-tuning a couple to get ready for release.

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Are there particular musicians who have inspired you and contributed to your own sound?

Lots. Bands like Phoenix, Foals; Wild Nothing and Beach Fossils. Then, House/Techno/Ambient Electronic musicians like Moderat, David August; DJ Kose and Kiasmos etc. I've got a lot to thanks for those guys.

What do you hope to achieve by the end of 2018?

Worldwide fame, rehab; a glorious comeback and then rehab again.

Will there be any tour dates? Where can we see you play?

Yes, for sure. I'll be playing at the live residency I curate at Archspace in London called Limbs - a night created for live Electronic music. There are a few more options in the pipeline also.

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

My first gig with a band I was in during school. At the start of our final song, we threw many, many Jaffa Cakes into the crowd which then got chucked around a lot. The venue wasn't best pleased.

Is it possible to convey what music does to you and the power it holds?

Not entirely. I always find words can never really describe a track or how it makes you feel. That's why I quit music journalism: because attempting to describe music is inherently futile. Not to rain on your parade or anything - keep it up!

Which three albums mean the most you would you say?

Tycho – Dive

Always gives me shivers and a mega-powerful sense of nostalgia to summer when I was eighteen.

Kings of Convenience - Declaration of Dependence

The songwriting and use of space are unbelievable.

It's not an L.P., but an E.P., by Benoit & Sergio called Boy Trouble

It first got me into dance music and showed me it was possible to mix that House sound with melancholic; narrative, vocal-based songwriting.

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

I'd support Drake.

My rider would be a paddling pool of KFC gravy and an inflatable Cartman from South Park for me to chill in the pool with. 

What advice would you give to new artists coming through?

Only make the music that you want to make and that you connect with. Don't try and force it into something else you think is commercial because what is commercial changes so fast that, by the time you've made it, it's probably irrelevant - and then you've made a sh*t song for no reason. There's no longevity in that.

Also, the likelihood of any of us reaching financial stability through music is very slim so make sure you're enjoying the process rather than sacrificing yourself for an elusive end goal which you're not guaranteed to reach.

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 IN THIS PHOTO: Jude Woodhead

Are there any new artists you recommend we check out?

Jude Woodhead, Tungz; Mined, Paige Bea and Ben Wickins.

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IN THIS PHOTO: Paige Bea

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

I work in music during the day as a nine-five. Then, I need to find time to do all my Two Legs stuff, so there's not much time to unwind. I meditate, but not as much as I'd like to. Also; exercise is big for me to de-stress. I do love a bit of footy.

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).

Ten City - That's the Way Love Is (Underground Mix)

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Follow Two Legs

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INTERVIEW: Holloway Road

INTERVIEW:

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Holloway Road

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THE chaps of Holloway Road…

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have been talking with me about their single, No Place, and what it was like filming the video. I ask how the duo got together and what it is like recording in Nashville; some new artists we should look out for – the guys reveal what tour dates they have coming up.

Holloway Road tells me whether Country, in their view, gets the attention it deserves; who they count as idols; what they hope to achieve before the end of the year – the guys end the interview by choosing two very different songs!

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

Very good, thanks - until England went out of the World Cup! 

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

We are Holloway Road; the most badass Country-Pop duo you have never heard. 

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Are you enjoying the heatwave we are having at the moment?! Does it compel songwriting and inspiration?

Absolutely. Any excuse for Rob to wear his short shorts! The sun being out really puts your mind in a better place so, of course, it sparks inspiration. 

How did you form ‘Holloway Road’? Do you remember that first meeting?

We have both played in bands together since we were kids. We can remember a conversation in the smoking area of a club about five years ago talking about making music that we could get excited about and, five years later, this is where we are!

What is the tale behind the new single, No Place? What was it like filming the music video?

It's a very personal song because it's about our journey together so far. Filming the video was great fun but, be warned; when hopping on a retro BMX for the whole day as the seats are made of hard plastic. Very unpleasant. Haha. 

I know you have been recording in Nashville. Is it a place you feel at home in? Is it a pretty exciting place to record in?!

We have great friends in Nashville that have taken good care of us and always made us feel at home. 

As far as recording goes; we have not done much out there - most of our time in Nashville is spent songwriting - but what we did do was very laid back and people there tend to just let the creativity flow, which is how it should be.

You are inspired by Country and Pop. Which artists did you listen to growing up? Who do you count as idols?

We love everything from George Strait to Florida Georgia Line when it comes to Country music but we love all genres. 

It's the same with idols. Florida Georgia Line are a great act to look up to as we have similarities and watching what they have achieved in so little time is inspirational. But, there are too many to mention - from the Eagles to Justin Timberlake.

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Do you think Country music gets the attention and oxygen it deserves in this country? Do you think it warrants greater focus?

We certainly think it's getting there and will continue to grow, and rightly so!

What do you hope to achieve before the end of 2018?

The same thing as every year: progression! As long as we come out of every year feeling like we have moved forward and in the right direction to world domination then we can wake up happy.

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

Not one that sticks out, as we are constantly making great memories and hope to continue.

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

Florida Georgia Line! 

We always choose our own rider and it usually consists of beer and bananas. Mainly because Jack has a banana phobia, so everyone likes to wind him up.

What advice would you give to new artists coming through?

Keep it fun!

Where can we see you play? Do you have any gigs approaching?

Of course! We have a busy summer of festivals ahead of us before heading out for some tour dates later in the year - we're playing Nashville Meets London, Bestival; Carfest and The Long Road among others. Head over to www.hollowayroadmusic.com for all show updates and social media pages. 

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IN THIS PHOTO: Levi Hummon/PHOTO CREDIT: Kate Dearman Photo

Are there any new artists you recommend we check out?

Levi Hummon, The Brummies; Jillian Jacqueline, Russell Dickerson and Devin Dawson. 

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IN THIS PHOTO: Jillian Jacqueline

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

Yes. All the things we shouldn't...

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

Jack: Enya - Orinoco Flow

Rob: Kano - GarageSkankFREESTYLE

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Follow Holloway Road

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INTERVIEW: ARI

INTERVIEW:

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ARI

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YOU definitely get a load of vibrancy, character and fun…

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when you speak with ARI. The American songwriter talks with me about her debut single, Baptize, and its story. She tells me about her childhood home and which musicians inspired her at a young age – ARI reveals how salsa dancing and cooking helps her relieve tension!

I ask her whether there are tour dates coming up and the chances of some U.K. dates; which upcoming artists we need to keep an eye out for; how she spends time away from music – ARI ends the interview by selecting a rather tasty song!

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

Hi, I'm ARI. Music is my passion; passion is my music. My musical passion is my passionate music. 

Baptize is your debut single. What is the story behind the song?

Baptize is the first song I had written for my solo project. It's a song of catharsis for me. I was in the midst of dealing with repressed waste and self-hatred and the way in which it's manifested into unhealthy and self-destructive behaviors. For me, it's about freedom from the chains of the mind we've shackled ourselves in.

Or something like that. 

Is it exciting having the song out there and ready? Do you already have visions of more material?

It's exciting, it's nerve-racking. I'm no cucumber. I'm desperate for validation and I want to be liked, loved and respected. Love me.

Yes. I write most days so the visions are ever-present in my day-to-day; sometimes I've spent the entirety of a day writing and I wake up the next day and realize it's sh*t. Other times, I feel connected to the song and it feels like I've released the story haunting me through that song. That's my favorite part about songwriting. Free therapy.  

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It seems you have been raised on the arts and around music. What was your childhood home like?

My folks are good people, good parents. They haven't made careers of making art, but they are artists in many ways. My father loves music and spent the majority of our time together during my childhood educating me on some of my favorite artists and driving me to and from dance rehearsals. My mother encouraged me with her abundant love and occasional ass-whoopings (kidding, mom, I love you.).

My childhood home was peach-colored on the outside, and inside, unfortunately. Our living room hosted reclining green-leathered La-Z-Boy sofas that my older brother used to hide things he broke around the house underneath. The kitchen had a white-tiled island and there was a guest bathroom with a warm toilet seat. Not a heated toilet seat, but warm still. Mostly from the excessive use. Busy house, busy toilet.

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Childhood was tough. No one knows what they're doing and then, when you're an adult and wreaking havoc on your own life, you're like: "Well, sh*t. That was a screwed up thing that happened in my childhood and I'm damaged and should probably work on that". We all have stuff. We're products of joyous moments and traumas and we fumble around on this planet until we die. I say that with a smile. I'm not a black hole. Usually. 

Tell me about the musicians that inspired you at a young age. Who are your heroes?

Leonard Cohen, Nina Simone and Sam Cooke are some of my heroes. The way in which they turn darkness into light is truly holy. 

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Is it true you cook and go salsa dancing to release tension and express yourself?!

TRUTH! I do love to cook. My grandmother and mother expressed so much love through preparing food during my youth. I hope I'm not perpetuating misogynistic stigmas of women in kitchens here, but the kitchen was where we shared stories, laughed; gossiped, yelled; cried and created dishes to share with people we loved. I love to cook. I love creating something from start to finish and consuming it with such quick turnover.

Making music takes a little longer. Yes, I do salsa dance; not just salsa, though. I used to be a ballroom dancer. Dancing is a delicious way to release. It's primal, it's liberating…

Are there going to be any tour dates coming up? Where can we see you play?

Right now, I'm doing shows around my hometown of Los Angeles, where I currently live. More to come soon….

Might you come to the U.K. and play here? What is the live music scene like where you are?

I do plan to come to the U.K. In fact, I'll be there next month for writing and recording sessions. I may even do a show whilst over there. I love it there. Looking forward to spending time in your neck of the woods. 

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

Lord, if I did not, why even wake up every morning? Hamster-wheel life is depressive. I'll be releasing new songs all year and doing shows. I'll have a full-length album done and released by the end of the year.  

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

I love how you spell ‘favourite’. Much sexier than my American version. My favorite memory from my time in music is happening now. I'm writing less how I think people want me to write and more from a place of how I actually think and speak. It feels good being honest. Is that a memory? Not really. I don't answer questions properly. Sorry. 

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

Nina Simone's Pastel Blues; Leonard Cohen's Songs of Love and Hate and the Bee Gees' Main Course.

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 IN THIS PHOTO: Moses Sumney

Are there any new artists you recommend we check out?

Yes. Two of my dear friends and collaborators, Saro and Neek. Also; Moses Sumney. He's not new by any stretch but, if you're not familiar with his work, get familiar. He's a genius.

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

I do. I spend a significant chunk of time with my not-so-baby brother. We live together and he's my best friend. He's brilliant and very much an active part of my life. We explore art, music and the inner-workings of our brains together. He's a cool cat and an artist as well. I hate him a lot…can you tell?

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).

Moses Sumney's Worth It

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Follow ARI

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FEATURE: Spotlight: Phoebe Bridgers

FEATURE:

 

 

Spotlight

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PHOTO CREDIT: Ray Lego for Under the Radar

Phoebe Bridgers

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I look out at music…

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IMAGE CREDIT: Getty Images

and you have a clash between those artists with original spirit and personality and those who sort of fall out of the memory. It is hard, in a modern age, to grab attention and hold people spellbound and hooked – we often wander between artists and struggle to keep focused for too long. I tend to find those who hover on the fringes of the mainstream hold the most power and grace. Phoebe Bridgers is one of very few modern songwriters who tick all boxes and stay in the mind. I am not suggesting we lack great songwriters in the world but too often, to me, the modern artist lacks all the necessary qualities for longevity and stardom. There is something grounded and yet inaccessible about Bridgers. To me, she seems to be the ultra-cool and popular: someone people would flock around; she would attend the best parties and people would hang on her words. That said, there is no ego and arrogance from the American artist. At twenty-three-years-old, the L.A. musician is getting her music to the world and taking some big steps. She has been playing music for a while but her debut album, Stranger in the Alps, arrived last year. I find a lot of young artists, when they release debut albums, tend to sound either too nervous or similar to someone else.

There are exceptions but too many find their feet a couple of albums down the line. Listen to the first notes of Smoke Signals – the first song from Stranger in the Alps – and there is that confidence and brilliance. The fact the song is over five minutes shows how much Bridgers believed in it – an album where every track but Smoke Signals (Reprise) lasts over three minutes. It is the sound of a young artist in love with the music and not willing to cut anything too short; always willing to let lyrics breathe and choruses the time to bloom and flourish. A review of Stranger in the Alps, from Consequence of Sound, highlighted the natural and personality-driven nature of the music:

“The album’s also full of interesting cadences, both in terms of the rhythms employed and Bridgers’ verses. Her words sometimes spill out over the meter and convey the messiness of a thought in a way that matches the rough-hewn sentiment of a song. These arrangements complement her voice beautifully. Multiple tracks feature intricate guitar-picking sequences, while Bridgers sings out with a voice that reverberates in the spaces between the notes”.

The narratives that run through the songs draw the listener into the song and involve you in the imagery. One track might see you in a car with Bridgers as she observes the American landscape with thoughts of relaxation in her mind; another might look at a mortality and personal relevance. It is the beauty and inventiveness of the debut album that strikes me. Another artist that strikes my thoughts, when thinking of Bridgers, is Billie Marten.

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PHOTO CREDIT:  Morgan Martinez of Hooligan Mag

She released her debut, Writing of Blues and Yellows, in 2016 and that record moved me immensely. I adore the beauty of the vocals and how (Marten) mixes Folk of the past with something modern to create her own world. It is the intimacy and sense of revelation that got into my soul. Marten does not push the listener away and hide: the British teenager wants people to come into her life and walk with her. The same can be said of Phoebe Bridgers. She, like Marten, seems like an older head on younger shoulders. There is elegance and wistfulness on some songs; in other moments, one gets the sense of a curious woman trying to get more from life and get out of a funk. I can imagine Bridgers’ early life and childhood was about exploring older artists and legends like David Bowie and Joni Mitchell; vintage representations of Los Angeles and dusty books. Maybe I am painting her as a heroine of a classic novel but, unlike many of her peers, it is the music and work that matters most. You get the sense so many artists are all about Instagram and followers; how to market themselves and lose any sense of personality, naturalness and physicality. Bridgers engages in social media but, looking at her Twitter feed, and she is much more personable, appealing and open. She might offer a random thought or ask questions of her followers – there is a loose and accessible aspect you do not get with a lot of songwriters.

In many ways, it will be fascinating to see how Bridgers follows her debut and what direction she takes. Worldwide attention and increased popularity could go to an artist’s head and change their music for the worse. That is a gamble for most but I feel, with Bridgers, she will produce something similar to Stranger in the Alps. There are so few artists able to produce such intelligent and scenic/story-like lyrics together with music that has grandeur, complexity and so many colours. It is amazing to think (Stranger in the Alps) comes from someone so young, making her first steps in the industry. Maybe there is a pressure to follow up something so great or an accompanying pressure regarding emerging talent and how Bridgers will keep her place. These anxieties are natural but she need not fear anything. Her debut is still gaining a lot of love and recently, she worked with Noah and Abby Gundersen on Killer + the Sound. It is a wonderful, haunting single that takes Bridgers’ voice in a new direction. Listen to the songwriter speak in interviews and she comes across as a typical, if more intelligent and cultured, American woman who wants to touch people with her music. There is confident and humour but she has a shyness and reservation that suggests, when she comes away from the stage or winds down, she shuts the world away and focuses on herself. It is hard to say either way: Bridgers has a slight enigma and mystery that add to the musical experience.

Bridgers conducted an interview with The Telegraph a few months ago and discussed her debut album and what she is doing next. She talked about her album and how she managed to make it on her own terms because of the commercial work - in 2013, while playing in a Punk band called Sloppy Jane, she was approached to record a cover of the Pixies song, Gigantic, for an iPhone advertisement – and did not have to sign with a label:

“Doing stuff on my own terms and making a record without being signed to a label – I credit that all to my commercial work,” she says. “I was playing so many shows at the time that I barely even went to my senior year of high school and was certainly not turning a profit. Then I did that commercial, which was only five days’ work, and it was like getting signed to a label. It was like a development deal”.

We have an artist who wants to make music on her own terms and, aside from a high-profile advert, is not willing to get into bed with labels and advertisers. The authenticity and sense of self is important to her; not bending to commercial demands and making an album that sounds right to a label. In the same interview, she talked about Ryan Adams – they brief dated not long after he turned forty (she was twenty) – and a song that was inspired by him.

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PHOTO CREDIT: Getty Images

Another snippet from the conversation showed a more child-like vibe – against the tales of dating an older musician and taking so being thrust into the public consciousness at a young age. The balance and blends you get with Phoebe Bridgers make her such an intriguing and captivating personality:

“Growing up in LA, with parents who never had much money – her father was a construction worker; her mother, a receptionist – Bridgers cloistered herself in a twee Harry Potter world. Her bedroom, she says, was a shrine to the J K Rowling stories. “I was totally obsessed until I was about 13 – I love that the female characters aren’t just accessories.” She gets out her phone to show me a picture of her posing gleefully at Platform 9¾ at King’s Cross station”.

It seems like Bridgers has a busy time ahead of her – a lot of touring and dates right through until the latter part of the year; interviews and promotional duties in-between those dates. After all of the gigs and manic whirl has died down; it seems like Bridgers will look ahead to another album and following up Stranger in the Alps. It will be an interesting experience and a different process to the one that created the debut. Bridgers has travelled the world and seen her profiled raised; she has experienced new love and downs – plenty of food for new material. Whatever she comes up with, it is sure to beguile and delight. In a music scene where there are few genuine stars and standout characters; a lot of people could learn an awful lot…

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FROM Phoebe Bridgers.

INTERVIEW: Zitro

INTERVIEW:

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Zitro

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IT is has been great speaking with Zitro…

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about his upbringing and influences. He talks to me about his new track, DVD, and taking control of the music video. I ask about the origins of the track and whether he is planning ahead regarding future material – Zitro discusses his touring plans and how he unwind away from music.

I ask the songwriter whether he has goals to achieve before the year-end; what advice he would give to fellow songwriters emerging; a new act we should check out and investigate – he reveals three albums that mean a lot to him.

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

My week has been painful and stressful - like every other week. It’s been a rough year. Trying my best to get to where I need to be, mentally.

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

I go by the name, ‘Zitro’. I write tunes for the broken, the weak and the silent in the styles of R&B, Pop and Soul. I produce my own music, therefore every note and sound you hear is 100% my own.

DVD is out. Can you reveal the inspiration behind the song?

It’s actually a summary to the theme of my sophomore album, Cult Classic. The world is one big bystander to people’s pain and struggles and, in most cases, the world finds them entertaining. I talk about how they are “cult classic” T.V. shows/movies to society. Social media plays a big role in this as well.

I believe you directed and edited the music video. What was it like putting the video together?!

It gave me a lot of confidence - just the fact that I could bring my vision to reality without paying thousands of dollars to do it. I love working on film and I regret not thinking of it sooner.

Is there more material coming? Are you working on more material?

First comes my sophomore album, then a couple of E.P.s along with various collaborations. I’ve also had some cool film ideas, including one I thought of last night before bed.

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How important are The Bronx and its people regarding your music?

My music is directed towards the whole world and society, not just The Bronx. I hope The Bronx can get on board with the message that I’m giving and, hopefully, then it’ll be a more peaceful place to live in.

Which artists did you grow up around? When did music come into your life?

In elementary school, teachers would assemble us students in some classroom and have us watch Michael Jackson tapes on V.H.S. and then that’s when I knew what I wanted to do in life.

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What do you hope to achieve by the end of 2018?

As much as I can...

More films, more songs; more live performances and maybe even something different.

Will there be any tour dates? Might you head to the U.K. at all?

The first chance I get to go touring, I’m jumping on that opportunity - AND it will start in the U.K.

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

The show that I did at The Delancey was a show I’ll never forget; although I could’ve done it more differently. I still strive to create better memories. There’s more I want to do.

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

Janet Jackson - The Velvet Rope

Prince - Come

Gallant - Ology

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

It would change my life if I opened for Gallant, or worked with him at all. I’ve met him a few times but we’ve never discussed a collaboration. Hopefully, next time, I won’t be such a chicken about it.

What advice would you give to new artists coming through?

Everyone’s a critic - but be your worst one. See everything wrong with your craft from the harshest critic’s eye and perfect it afterwards.

Also; don’t sign anything without reading it first.

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IN THIS PHOTO: Joshua Morata

Are there any new artists you recommend we check out?

Joshua Morata, a brilliant songwriter and filmmaker. He’s the one who actually influenced me to make my own video. His new album, Somewhere, just came out this summer and I feature on one of the songs.

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

Playing some good ole Fortnite! I haven’t had so much fun playing a game since World of Warcraft. Season 5 blew my mind.

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).

Ladies and gentlemen, this is Belinda Carlisle’s Heaven Is a Place on Earth. A song that I’ve kept close to me this year to get me through depression and anxiety. I hope it’s your favorite, too

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INTERVIEW: KROWNS

INTERVIEW:

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KROWNS

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I’M starting off the week by speaking with Kyle of KROWNS…

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who has been telling me about the band’s new track, High While the World Ends. I ask whether there is more material coming in the future and the sort of sounds that influence KROWNS; if there are any new artists we should get involved with – he reveals the gigs coming up for the guys.

Kyle tells me about Calgary and how supportive the city is; the advice upcoming artists should take to heart; how he manages to relax away from music – the band members each choose a song to end the interview with.

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

Sup. We’re stoked after releasing High While the World End and appreciate all the support. 

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

My name is Kyle McKearney. I sing and play guitar. My brother Shade McKearney is on bass and sings (and provides samples). Adam is on drums; he sings and plays keys. 

 

High While the World Ends is your debut single. What is the story behind the song?

There’s a lot going on in the world. Sometimes, we need to set aside all the bullsh*t and just be humans together. We wanted to come out swinging and High' was the best fit for that. 

How did KROWNS get together? When did you start playing together?

Shade and I are brothers and have been playing together since we were young kids. Adam was with us in a previous band and has been a third brother for years. KROWNS was birthed when I started writing down my story and started getting right with my past. 

Is there more material coming from you guys? What are you working on?

We’ve got more songs ready: we’re in it for the long haul. 

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Can you give me a sense of the artists who inspired you all to get into music?

We had to sneak music. Our parents were very strict regards what we listened to. We sneaked Eminem, Nirvana; Green Day, N.W.A.; The Offspring, Marilyn Manson; Metallica, lots of mixtapes. We loved The Beatles anthologies.

Shade: Misfits, Lauryn Hill; Rancid and Sublime.

Adam: Michael Jackson, Nirvana and Punk bands like Bad Religion. 

How supportive are the people and venues of Calgary? Is it a great area to make music in?

People have been super-supportive of KROWNS. I wouldn’t say Calgary is easy: it’s a conservative city and most people don’t care about original music. There is some great support from venues like The Blind Beggar but it’s honestly like most cities. Some good some sh*t. 

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What do you hope to achieve before the end of 2018?

We wanna have a tour schedule set up and have a few more songs released. We wanna go play in Germany and Australia.  

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

That’s a tough one. It seems like the hard times stick out - the bus breaking down and a trailer flying off, rolling through the ditch. The suffering is always memorable and enjoyable when you’re grinding with your boys. 

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

We’d love to open for Post Malone. His shows are fire and the crowds have such a good vibe. Drake, 21 Pilots and Imagine Dragons would be sick as well. 

Our rider would have a bottle of Jameson’s, a box of IPA; a box of Cubans and whatever else.

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What advice would you give to new artists coming through?

Just be honest. Don’t pander - and keep writing till you don’t suck. 

Where can we see you play? Do you have any gigs approaching?

We just finished a single release show in Calgary but only pending shows at this point. Nothing else has been announced. 

Might you come to the U.K. down the line? Do you like British music?

I love British music. I’ve actually had the pleasure of meeting and writing with Roger Taylor of Queen. Amazing dude. We’d love to come if you’d have us. 

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IN THIS PHOTO: Swae Lee

Are there any new artists you recommend we check out?

I’ve been listening to Swae Lee and Lil Pump. Check out Dermot Kennedy from Ireland; he’s dope! 

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IN THIS PHOTO: Dermot Kennedy

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

I build relic Fender replicas as something to focus on while I’m not busy with KROWNS. I love it. We’ve had a bit of time with the release happening and it’s always nice but we can’t wait to get to work. 

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).

Hurt to Look - Swae Lee (ft. Rae Sremmurd, Slim Jxmmi)

Clint Eastwood – Gorillaz

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All Apologies - Nirvana

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FEATURE: Monday Motivation Music: Songs to Kickstart the Working Week

FEATURE:

 

 

Monday Motivation Music

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ALL PHOTOS: Unsplash 

Songs to Kickstart the Working Week

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A lot of people are struggling in this heat…

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and there are others who do not want to be stuck indoors whilst the sun is out! In any case; many of us are reluctant to get out into the working world and spend our time in a sweaty office! Every Monday morning is a challenge: it is getting harder to lift the energy rates and participate in a full day of rather tedious work. It is another hot and sweaty week ahead, and so, we all need a bit of a kick and motivation. For that reason, I am ending the weekend by putting together a Monday-ready playlist that should add a spring and sense of energy to the step! Put on the playlist and shut the world off; let the songs get into the head and, once they have done their work, they should keep you going…

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UNTIL the weekend (or the end of Monday, at the very least!).

FEATURE: Se-X-X-X Laws: Is Music Becoming More Cautious When It Comes to Sexual Content?

FEATURE:

 

 

   Se-X-X-X Laws     

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ALL PHOTOS: Unsplash 

Is Music Becoming More Cautious When It Comes to Sexual Content?

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IT is bloody typical that The Guardian has just published…

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a piece I was going to write! Whether there is something in the air or not; they have released their opinions regarding sex in modern music. I have covered this topic a bit but I have been hankering to return to the topic. Past pieces have looked at sexism and exploitation in music videos; whether there is too much sex on show in modern music. Now, I am taking an opposite approach and asking whether things are too muted and conservative! One can look at the scandals in Hollywood and sexual abuse claims as a warning to all artists to think about how they behave. Whilst there has not been the same unadulterated and despicable cases we have seen in Hollywood - Harvey Weinstein, especially – I have heard far too many cases of sexual assault and inappropriate behaviour in music. Bands and artists have been shamed; testimonies revealed and allegations made – there are many more afraid to come forward and so many potential incidents that have not been oxidised. I am not suggesting music has long been the back parlour of Caligula’s summer house: cavorting and flesh-revealing antics mixing with debauched imagination. Musicians, for decades, have used sex to sell and provoke a reaction. I have just finished up writing a piece that included Madonna. She was/is no stranger to causing controversy and stirring people up but, in actual fact, it is people’s misconceptions and overreactions that have been the problem.

Madonna has always been about empowerment and pushing boundaries. Her music, imagery and videos have compelled and inspired generations. There are still artists who put sex into their music and videos but, look around, and things have gone very quiet. I can still recall when Miley Cyrus was tarred and feathered for her Wrecking Ball antics. Others, including Britney Spears and Christina Aguilera, have been accused and judged before for revealing flesh and dancing provocatively in their videos. It seems, in most cases, it is female artists receiving most of the moralising and judgements. Men, on the other hand, approach sex in a different way. Whilst a lot of females have been in the press for empowerment and body confidence; a lot of male artists have been accused of inappropriateness, sexism and lewdness. There are definite gender divides and moral lines we need to consider. In any case, I feel modern circumstances and times have dictated how sex is discussed in music. Many current Popstars are writing about relationships in more sorrowful and diary-like ways. They are chronicling heartbreak and self-reflection rather than the joys of passion and the quest of lust. Some genres, like Hip-Hop and Rap, still boast physically assertive and sexually defiant artists (both male and female) but the goalposts have moved.

There are no rules written that have dictated this sea change but it is interesting to observe how sex is less potent and visible than as recent as a few years ago. To quote from the competing Guardian article; they have looked at ‘sad/sexy’ – how nihilism and a more introspective version of sex have infiltrated music:

“As the decade progressed, sad/sexy spread everywhere: the melancholy libido pulsing through the music of the Weeknd, James Blake and the xx (Intro became ubiquitous), you could hear it in the mumbled force of the self-styled Scandinavian sad rappers such as Yung Lean and Spooky Black. Gay culture was gifted a sad/sexy icon in Frank Ocean, who wrote a mini-anthem to the restless dissatisfaction of pharmaceutical cold coupling with Novocaine – a kind of dress rehearsal for sad/sexy’s own three-tier Bohemian Rhapsody, Channel Orange’s Pyramids. The boyband milieu gained its own sad/sexy pinup, too, as One Direction lost their resident weed magnet, Zayn Malik, who went on to pick up the sad/sexy cues of his immediate heroes – Drake and the Weeknd – in Pillowtalk, hooked by the none-more sad/sexy parentheses of “fucking and fighting”.

Not that mainstream heavyweights like Drake and James Blake have gone all soft and lost their libido. Sex is, as the article explores, complicated in this decade. Artists are concerned with mental-health and social media’s effect on the mind.

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Whilst we are still engaging and exploring sex as before; perhaps the digital takeover has changed the way we think, interact and spend out leisure time – have artists the time, energy and focus to even think about sex?! It seems the projection of quick-fix and sexual release is rather ill-judged and cloying at a time when sexual indiscretion and abuse of power is in focus. Maybe we are all too sucked into the machine and guiding our lives through technological eyes. Dating apps and the Internet have changed the way we date – not always for the better, it seems. I am not suggesting we are interacting less but modern musicians, new and mainstream, have less free time to socialise and are relying on the Internet for communication, dating and hook-ups. One can still find male artists writhing and thriving with their trousers down; there are female artists promoting empowerment and their femininity…others are more direct and happy to show curves and a sly smile to get YouTube videos up and their key demographic engaged. Many Pop and mainstream artists are making music for teens and young minds. A more sanitised and moral-minded scene has to come in to ensure the wrong messages are not being put into the world. How explicit an artist should be is a difficult thing to judge.

I agree that sex and relationships are becoming defined by anxiety and a more thoughtful approach. Scandal, accusation and thrills still can be found in music but, largely, heartbreak and rebuilding broken foundations play a much stronger role than tantalisation and getting your rocks off. You are spoiled for choice when it comes to the list of best sex-themed songs ever. NME produced one last year - and a lot of the inclusions (sixty-nine in total, appropriately!) are from an awful long time ago. Modern(ish) songs like Lana Del Rey’s Cola take a rather direct and unapologetic tact – the title refers to the taste of her pussy – but that is rather tame in comparison to what we have witnessed previously. Once was the time when groupies surrounding the biggest bands are there were hellacious and eye-watering stories of sex and excess. Those days have gone (for the most part) and musicians have to be a lot more cautious and responsible in this day and age. There is, too, a line between sexiness and explicitness. One can claim a lyric from Lana Del Rey is more provocative than it is sexy. One does not need to talk about sex in a juvenile and pornographic way: the sheer tease and sense of allure can be much more potent and powerful.

From Beyoncé, Kelis and Ciara making demands and making their intentions known to some of the biggest male Hip-Hop stars boasting of their exploits and ‘measurements’ – there has been a definite decline when it comes to discussing sex in music. Maybe the content is still there but it is not as spicy, memorable and evocative as once was. For those who feel this decline happened at the start of the decade; there is proof to suggest, in 2011 at least, there was plenty of sex in the music mainstream:

“Get your heads out of the gutters, America's musicians. We always knew that with all your nipple-showing and lesbian-kissing and crotch-grabbing that you're obsessed with sex, and today we have the science to back it up: "Approximately 92% of the 174 songs that made it into the [Billboard] Top 10 in 2009 contained reproductive messages," says SUNY Albany psychology professor Dawn R. Hobbs in Evolutionary Psychology. That's right--"reproductive messages," our newest favorite euphemism.

Those 174 top-selling songs were analyzed in order to determine how many sexy messages they contained in any of 18 sexy categories, including "arousal," "sexual prowess," and "genitalia." There was an average of 10.49 sex-related phrases per song, with R&B being head-and-shoulders(-and-maybe-some-other-body-parts) above the two other musical genres analyzed, country and pop. "Sexual appeal" was the most popular theme among both R&B and pop songs, while "commitment" (yawn) was most prevalent in country music”.

Sex is more readily available on the Internet and the media. We have sites that offer cheap hook-ups and stringless-sex; the raciness and thrill we once got from music videos and Pop, in comparison, seems a bit tame – or it is too overloading, perhaps? Another article, from earlier this year, differentiated between ‘love’ and ‘sex’. Plenty of artists can articulate the complexities of love and how it has positive and negative effects. Sex, in many ways, is a less complicated area of study. Many songs fit in an overlap where sex and love intersect: many solely discuss sex whilst others do not bring it to the table.

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A lot of the most provocative and sexually revealing Pop artists have got older and, with children and marriage, changed their worldview and are focusing on more family-orientated themes. Modern Pop acts like Dua Lipa and Tinashe are stirring and alluring – able to show flesh and lick their lips without getting too ‘detailed’ and explicit. Male artists, especially, in modern Pop are straying away from the topic. There are genres where sex is freely explored but look at the modern charts and how many songs on the rundown look at sex? This article asks whether sex sells and looked at its (sex) prevalence through the decades. They answered the big question:

“Okay, so I know I’ve really been riding my luck with guessing what you’re thinking, but how else do I link my points? Here’s to hoping you’re thinking DOES SEX REALLY “SELL” THEN?!?!?!? Interestingly, sex mentions follow a consistent up and down cycle, peaking for a year or two before falling dramatically, suggesting that sex sells until people get fed up with over-saturation.

…Additionally, artists who largely mentioned sex but did not mention love would have maximum 50 weeks on the charts, yet artists mentioning sex spent much longer on the charts if they also mentioned love. Also, many artists did well on the charts with many mentions of love with few or no mentions of sex. This once again reinforces the idea that sex itself doesn’t sell, but love definitely sells”.

Look back through music’s history and you can see a gradual decline – with a few peaks and dips here and there – when it comes to sex in the mainstream. Love, as I said, is still burning bright but more often than not artists explore intimacy and emotional connection as opposed physicality. Why, then, do I bring up this issue?! I am happy with what is happening in music and am not a sex-craved listener who wants to get his fix anywhere possible. I feel, however, we are in an uncomfortable and difficult time when we must tread carefully and be aware of the consequences of what is being put into the world. Recent scandals, coupled with a changing lifestyle that is more technology-driven and less ‘human’ has changed how we date and bond with one another. I do worry we have gone too far and are being too safe. I am not suggesting artists are puritanical and have lost their libidos altogether – it would be nice to see a bit more expression, boldness and risk-taking from artists.

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I understand caution should be employed and artists need to be responsible for their content. Taking precautions should not replace expression and being honest about sex. We all have it – speak for yourself! – and there is nothing wrong with it at all! Rather than use it as a commercial selling point and push too many boundaries for the sake of streaming/video success; talking about sex in a very real and relatable way is perfectly acceptable. Confident females are not afraid to express their sexuality and empower their peers. Male artists, in some genres, are discussing sex but making sure it is not too seedy and crass. Perhaps we have become too guarded and are not really sure where lines should be laid and what is seen as ‘too much’. I know there is sex out there but I would like to see more of a spark and revival. Artists can talk about sex in a very inspiring, empowering and educational way. One assumes any sexual reference is lurid and offensive: when done right, it can be incredibly powerful and memorable. From songs like Teenage Kicks (The Undertones) and Like a Prayer (Madonna); Love to Love You Baby (Donna Summers) and (I Can’t Get No) Satisfaction (The Rolling Stones) – music is stocked with sexy and arousing songs. Whilst we do not need a full-on sexual revolution and awakening; I would suggest a bit more expression and optimism is needed from modern artists. It is okay to write about melancholy and heartbreak; talking about love’s capriciousness connects with listeners and is as honest as anything. It would be nice, once in a while, for an artist to lock the door, turn the phone ringer off…

AND let the postman knock the damn door down!

FEATURE: The Legends Club: Artists Who Have Endured and Continue to Inspire

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The Legends Club     

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IN THIS PHOTO: Paul Simon/PHOTO CREDIT: Getty Images 

Artists Who Have Endured and Continue to Inspire

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A couple of interesting things have come out of this weekend…

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PHOTO CREDIT: Getty Images

that has made me reflect and look carefully at the music industry. Paul Simon, as we know, will soon be retiring from touring forever. He is on his Homeward Bound tour and has played at London’s Hyde Park. It is sad to think the American legend will not take to the road after he has completed this tour. Many artists say they are going on a ‘farewell’ tour but they come back for the money and milk it until the cow is dry. It is a good tactic, I guess: scaring the fans and letting them believe this is the last time you will see your heroes on the road! It reminds me of a sale where a shop is closing down and you need to hurry now! It goes on and on and then, when they have enough money, they keep trading as normal! Paul Simon, sadly, is sincere and serious regarding his declaration. The man has won his right to spend time with family and take things a bit easy. Not that a lack of touring miles translates to ‘taking the load off’. Simon is still going to record material and, in fact, has announced he is to release In the Blue Light: a record that sees some of his best-loved material reworked. This is not a new thing in music.

Kate Bush did the same with Director’s Cut. She took songs like This Woman’s Work and added a new spin to them. Paul Simon, on the album, will reinvestigate songs like Love and How the Heart Approaches What It Years. You can learn more here and discover the blend of material that is being reworked by the master. The article I have just quoted provides some useful and revealing information:

“Simon writes in the liner notes: “It’s an unusual occurrence for an artist to have the opportunity to revisit earlier works and re-think them; to modify, even completely change parts of the originals.

“Happily, this opportunity also gave me the gift of playing with an extraordinary group of musicians, most of whom I hadn’t recorded with before.

“I hope the listener will find these new versions of old songs refreshed, like a new coat of paint on the walls of an old family home”.

In any case; it is another solo album from Paul Simon; a career that started back in 1964 with Simon and Garfunkel’s debut album, Wednesday Morning 3 A.M. It seems extraordinary to think Simon has been releasing material for over fifty years! His thirteenth solo album, Stranger to Stranger, was met with critical acclaim and it showed, at the age of seventy-five, he was able to produce work that rivalled his very best. Only two years later and we will get ANOTHER record from Simon.

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IN THIS PHOTO: Fleetwood Mac/PHOTO CREDIT: Rock Hall Library and Archive

The fact Simon is still producing work and looking ahead makes me think about the legends of music and how they have endured. I will mention a few more but look at Rock gods such as The Who and The Rolling Stones. With so many of their peers biting the dust or unable to get along – Pink Floyd springs to mind! – it is amazing to consider they have not stopped playing/recording since the 1960s. Fleetwood Mac, another band that has endured some turmoil and upset, are still going – without Lindsey Buckingham, mind – and show no signs of quitting. They are embarking on tours and, whilst another album might be a way away; it is good to see the band going strong and in love with music. I will bring up another music-based revelation that has got me thinking about sustainability and endurance. Today, many argue, is a very different scene to that of the 1960s, for instance. Artists need to promote themselves endlessly and be kind to themselves and each other – look after their mental-health and be as supportive as possible. A couple of articles look at longevity in the industry and give helpful hints to musicians. This article looks at social media and creating a brand:

“The next question is – how do I develop myself enough today to get longevity in the future? Hard work and dedication are two of the most important values that you have to think about when you’re in the music industry.

When you’re first starting out, you need to be able to find a fanbase. These fans might already be focused around one particular artist that fits in with the music you are producing but you’ll appeal to them with your own, unique brand. Establishing a brand is extremely important because that is how your audience will know who you are and why they should like your music beyond “it’s good.”

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 PHOTO CREDIT: Unsplash

The first thing to ensure that you have a solid brand would be getting a social media. This is important to have if you want to continue to build your brand and to make sure that you are consistent on each website that you use. Instagram, Facebook, Twitter, and even Snapchat can engage both current and new fans. It is also important to get your music on as many different platforms as possible, either by streaming it online on Spotify, Soundcloud, or Apple Music or by selling physical copies if that’s a profitable option for you”.

How do the Rock titans like Mick Jagger, Robert Plant; Roger Daltrey and Chrissie Hynde (The Pretenders) ensure and survive? This article, written ten years ago, put Rock stars under the microscope and theorised why they continue to work and retain a fanbase. One pointer that struck my eye was the issue of changing your style. Do you keep the same character/sound going or change it up or risk losing some support?

“So does one evolve within a particular way of writing as Nick Cave has done slowly and spectacularly, or constantly try new things? Both can work if done well. I know many people who, after a youth pursuing the shock of the new through Frank Zappa or Naked City, are now beginning to "get" Bruce Springsteen. Why are they warming to these conservative chord sequences? It seems Bruce sustains a career thanks to generation after generation of youngsters growing up just enough to get his romanticism of the everyday. Whereas Joni Mitchell, Björk or, occasionally, Neil Young maintain a hardcore following while gaining and losing admirers from project to project, Bruce just accumulates through maintaining a general level of solid quality”.

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IN THIS PHOTO: Bruce Springsteen/PHOTO CREDIT: Danny Clinch for Variety

I guess you could say it is as hard to survive now as it was back then. By that, I mean artists like The Who and Paul Simon started in a different time when music was very different and they did not have to promote in the same way. There were fewer competitors and they did not have to face up against a mass of new and unsigned artists. On the flip side; those who were releasing albums and in the charts were incredibly good and determined. Not only have these musicians overcome a tough scene and quality rivals but they have managed to settle in the present time – where there is social media, a new way of working and fresh demands. Not only do the long-standing artists have to think about retaining fans and winning new ones but they have to make that decision whether to change their style or keep going as they are. Consider Bob Dylan and Neil Young and how radically their music has shifted since the 1960s. In fact…it isn’t such a leap, really?! They have not succumbed to the need to add synths and pumping drums to their music: they have kept that solid and reliable foundation and adding the odd touch here and there. Look at someone like Madonna, mind, and she has taken bigger gambles. I guess a Pop artist is in a different position to a Folk act.

She could not really produce the same sort of music she was producing back in the 1980s. Consider her pumping out Like a Virgin and Cherish in 2018 and it would not really sound right. Ironically, 1980s-inspired music is big now and many artists have taken from Madonna. The Queen of Pop turns sixty next month and it will be a fantastic opportunity to pay tribute to her influence and legacy. She continues to tour and release material and reinventing herself at every turn. Consider how she has shifted from her 1980s albums such as Like a Virgin and Like a Prayer and what she came up with on 1998’s Ray of Light. She took a gamble adding darker electronics to her sound at the end of the 1990s but it paid off; she entered a new creative phase and continued to score big reviews and sell-out venues.

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PHOTO CREDIT: Tabak/Sunshine/Retna UK

Even as she enters her sixties; the Queen of Pop puts out spirited, raw and sexual material that shows immense confidence and direction. She has updated her early-career sound and add modern touches and hooked up with the best talent of today – rather than resting on her laurels and assuming she does not need to change a thing. Madonna has always influenced and directed music. Matt Cain, when speaking with The Guardian, discussed how Madonna opened up gay culture and made self-expression and sexual revelation more acceptable. She

“…But I love how Madonna’s never wanted to be seen as a nostalgia artist and how in recent years she’s become even more politically outspoken. Her speech at the Billboard women in music awards in 2016; she called out the “blatant sexism and misogyny and constant bullying and relentless abuse” she’d experienced as a woman in the music industry. So many people have relied on Madonna’s music for emotional support in their lives and I’m so glad she’s still here, still expressing herself, absolutely on her own terms. Because if she hadn’t been doing that when I was younger, I’m not sure I’d be here now – and I certainly wouldn’t be the person I am today”.

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IMAGE CREDIT: Getty Images

Madonna opened up discussion about sexuality and feminism. She continues to speak out about misogyny and sexism in the industry – it is that strong voice and passion that keeps people hooked and compelled. Madonna changed popular culture and transformed the way we look at women and music in general. It is not a surprise, therefore, as she approaches sixty that she has that huge fanbase and a big demand – there are whisperings she might appear at next year’s Glastonbury Festival. Madonna, like Paul Simon, has produced such a vast body of work and created different personas. She has survived and managed to change skins; keeping fascination high and inspiring generations. When she hits sixty on 16th August; it will be a great opportunity to mark her endurance and what she has given musicians. Sadly, a lot of icons have passed because of addiction and drug-related deaths. Prince, Whitney Houston and Michael Jackson are a few who have succumbed to drugs – whether accidental or not. I know bands like The Who and The Rolling Stones have ‘dabbled’ in the past but they remain clean and focused today – they know they need to stay healthy and, essentially, alive to continue their careers.

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IN THIS PHOTO: Paul McCartney leaving Apple headquarters (London) in 1969/PHOTO CREDIT: Getty Images

I have been thinking about others, like Paul McCartney, have had decades-lasting career and continued to evolve. McCartney has gone from The Beatles to Wings (who, he claims, were not a great group) and has endured a successful solo career. If Madonna has survived criticism and attacking voices – against her promiscuousness and confidence; others who feel she is a diva – and not embarked on farewell tours and the ‘comeback trail’. McCartney, too, has received criticism – not the same sort but he has overcome doubting tongues – but shrugged it all off and remained level-headed and professional. McCartney, during an interview last year talked about balancing fame and fortune with being grounded and normal:

“For someone who's been so famous for so long, this particular billionaire vegetarian seems surprisingly charming and self-effacing. But with anyone whose life and work has been explored at length from every angle, it can be difficult to separate the myth from the man.

How would his friends describe him, does he reckon?

"They'd say 'Paul is one of the best guys you could ever meet. He's honest. He's loyal. He's friendly. He's funny. He's a great mate, generally'."

He forgot devilishly handsome. "Yes, true. Also, devilishly handsome. Or do you want the real version? But yeah, I'm lucky. I've got some great mates, and they keep me grounded. One of my big fears in life was gettin' too full of meself. When you have the sort of success I've had, it would be easy to go 'You know what? I'm dead cool!' But coming from Liverpool, that's not the cleverest thing”. When I go back up to Liverpool, if there's any of that, it's like, 'Eee, Paul. Whatcha doin'? Now f… off!'. I get pulled back to reality real fast. "

Musicians today could learn a lot about remaining settled and grounded. I feel so many musicians from the 1960s and 1970s do not get too carried away.

Some might argue against that point but there is little room for egos if you want to keep growing your fanbase and winning critics – unless you are Kanye West, I guess! Discipline and that experience all make a big difference. A lot of new artists have just arrived on the scene and have to adapt very quickly. The big, long-lasting artists have been there and know what it takes to succeed. There is no secret to succeeding for so many decades. Some bands/artists split up or succumb to excess whilst others change their music and lose their fanbase. Those who keep releasing music and packing people in have changed with the times but not lost what made them special in the first place. I guess it is their love of music and passion for the fans that keep them going and drives their creativity. They act as a guide for new artists that you can endure for a long time and succeed in music. Whilst Paul Simon releases a new album and Paul McCartney gears up for touring a new solo album (Egypt Station); Madonna continues to perform and is sixty next month – The Rolling Stones, against all odds, are still kicking and owning stages around the world. We thank and celebrate them for their immense work and lighting up music for so many years. As we talk about disposability, commercialism and come-and-go artists today who do not last for that many years; have a look around at the legends of music that have changed music as we know it and continue…

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IN THIS PHOTO: The Rolling Stones/PHOTO CREDIT: Getty Images

TO create amazing work.

FEATURE: Mercury Revs: Which Albums Are in with a Shout of a Mercury Music Prize Nomination?

FEATURE:

 

 

   Mercury Revs     

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IN THIS PHOTO: The album cover for Let's Eat Grandma's I'm All Ears/ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images/Press Association 

Which Albums Are in with a Shout of a Mercury Music Prize Nomination?

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IF you enjoyed a British album…

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IN THIS PHOTO: Last year's Mercury Music Prize winner, Sampha

released between Saturday, 22nd July, 2017 and Friday, 20th July, 2018 (looking a few days ahead, it seems!); chances are it will be in with a shot of a Mercury Music Prize nod. The dozen longlisted albums will be announced on Thursday, 26th July and it will be exciting to see who makes the cut. Last year’s winner, Sampha, impressed judges and the public with Process – a fine record from the London songwriter. Hyundai, again, are putting their name to the prize and there is talk as to who might be nominated this year. Many feel the Mercury Music Prize has lost a bit of direction and is not inclusive enough. I think a couple of things need to happen when it comes to announcing the longlisted. It is too late to change course – as the albums have been selected/most have – but one suspects there will be a mix of the mainstream best and the outsiders. There is always a Jazz or Folk record alongside the finest from Pop, Rock and Alternative. In terms of the best albums from 2017; look at most rundowns and you will see a largely American crew. Artists such as St. Vincent, Thundercat and The National. I look at the assumed best of this year (so far) and there is a bit more variation – are we to assume the twelve albums that will appear on the list are going to be taken from this year?

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Thursday, 20th September will see a new British champion crowned and I wonder whether judges will go with an album like Sampha’s Process or something Rock/Pop-based? Dizzie Rascal’s Raskit was released a day before the cut-off point for eligibility (it was released on Friday, 21st July, 2017) but that could have been a good outside bet. Whether you love or loathe the new album from the Arctic Monkeys; Tranquility Base Hotel + Casino seems like a Mercury-worthy record! Many say it is not as intense and immediate as other albums from the Yorkshire band. I know it is a grower and seems like an Alex Turner solo album but there has been some great critical reception. At the very least, it would show the panel are willing to take risks and recognise an album that may not seem like a classic right now – something that has the potential to grow and establish its worth years from now. It is hard to make early predictions and one glaring thing stands out. Whilst there have been some tremendous British albums from the past year; look at the critics' lists and most of them focus on American works. In fact; type in ‘The best albums of 2018’ and the vast majority will be American. That is not to indicate British albums have not been able to cut it alongside the American best. A lot of the votes and lists are compiled by American critics who, let’s be fair, have myopic views and do not tend to spend too much outside their own nation.

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A couple of albums I have rather enjoyed are Microshift (Hookworms) and Open Here (Field Music). Both of the records scored well from critics; both bands are northern (Field Music are from Sunderland whilst Hookworms are from Leeds/Halifax). It would be good to see both of these records get a nod and sit alongside the very best. Young Fathers’ Cocoa Sugar, perhaps, is the frontrunner. The Scottish band won the prize back in 2014 for their album, Dead, and I would not bet against them winning the award for the second time. Critics have been raving and drooling over their latest work. Alexis Petridis, in a review for The Guardian, proclaimed:

“The trio are smart enough to keep their experimentation sharp and to the point: the longest track here lasts four minutes, while the shortest – Wire, with its oddly Viz comic-like refrain of “Ooh, ya fucker!” – is over in 100 seconds. The end result is fascinating and forbidding in equal measure, and there’s clearly an argument that it’s also very timely: twisted and broken-sounding pop music for a twisted and broken era, replete with villains (the protagonist of In My View, a “greedy bugger”, actively enjoying not just the taste of his foie gras, but the cruelty of its manufacture) and lyrics that appear to swipe at nationalism and toxic masculinity, albeit obliquely. But equally, its strangeness feels less reactionary than internal: not so much the outcome of looking on, horrified, at the world in 2018 and trying to find a soundtrack, than the product of a band who inhabit a world of their own”.

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IN THIS PHOTO: Young Father/PHOTO CREDIT: Julia Noni

I am certain Cocoa Sugar will be on the list of selected twelve – it is almost guaranteed to be among the shortlisted and frontrunners. Although Superorganism take their membership from various parts of the world; they formed and are based in London – they can be seen as a British band. I would think their album, Superorganism, is going to be included and I think it could be the album-to-beat alongside Young Fathers’ third L.P. Look at the choices I have selected so far and there is a lot of Pop and Rock in there. You get some synths and Indie shades in there but, largely, there are no Urban touches to be found. I am confident the likes of CHVRCHES, for Love Is Dead, will be among those getting the voting panel revved. Who would bet against Goat Girl getting Mercury recognition for their sublime debut, Goat Girl?! I have mentioned my love for Young Fathers but there is another proposition that could upset the odds: the marvellous duo of Let’s Eat Grandma. Their second album, I’m All Ears, is one of the best-received records of this year and a sure-fire Mercury nomination. The Sunday Times provided their view regarding the album:

“Norwich’s Rosa Walton and Jenny Hollingworth were 17 in 2016, when they released I, Gemini, a dreamlike debut that captured the magical otherness of adolescence. Their second album is a fun, futuristic mix of alternative pop and dance music that sounds like the product of two young women going out and discovering the world”.

I have reviewed most of the albums I have mentioned so far – not biased or anything! – and can attest to their brilliance. Looking at other fresh releases and Boy Azooga come to mind. Their staggering gem, 1,2, Kung Fu!, is one of my favourite albums from this year. I am expecting Boy Azooga to be in the chasing pack and, in no way, an outsider. Although, again, we are not straying too far from Pop and Rock; 1,2, Kung Fu! goes through different emotions and stages. It is a record that I am in love with and would like to see scoop a lot of awards. A couple of artists who deserve to be on the list but might be on the borders of winning are Bryde and Kate Nash. The former is the moniker of Sarah Howells and her debut, Like an Island, turned a lot of heads. A sample review, from DORK, tells you all you need to know:

“Over the course of the record, Bryde juggles her mystical soundscapes and unapologetic guitars with pristine skill. There are moments of infectious beats and danceable choruses, of soft vocals and wisps of electronica. ‘Fast Awake’ is an energetic yet dark track, taking elements from Radiohead tracks ‘Bodysnatchers’ and ‘Myxomatosis’ in its powerful coalescence of haunting vocals and rapid percussion. Bryde invokes the ambience of Warpaint and emotion of Laura Marling in her impressive debut; namely in ‘Euphoria’, a piano-led ballad, and ‘To Be Loved’, a track saturated with power and ferocity”.

We are sporting so much brilliant talent in Britain right now – Bryde is among the very best out there right now. I could not give you any odds but, in bookie terms, she might be a 12/1 bet. Kate Nash is someone who has been kicking around music for a while and, again, another bright and brilliant London artist. Would the panel award the prize to a London artist after giving Sampha the gong last year?! I think Nash’s record, Yesterday Was Forever, departs from her previous record – 2013’s Girl Talk was not met with huge critical love – and her 2010’s My Best Friend Is You. We reviewed Kate Nash’s latest record for Too Many Blogs:

“This record definitely evokes the spirit of a teenage diary. Singing in her distinctive London accent, energy drips off this LP, with the now-thirty-year-old delivering a punchy, tongue-in-cheek yet sincere message about the ups and downs of life. Nash addresses issues such as mental health in riot-grrl-esque opener ‘Life in Pink’, which despite the gravitas topic of ‘thinking about death all the time’ still manages to infuse a sense of optimism and unity”.

It would be a good idea to keep your eyes open for Nash and Byrde because both have produced records that have fared well and received great reviews – even though both artists are in different stages of their careers!

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IN THIS PHOTO: Kate Nash

For a more Folk/Acoustic choice; you might want to consider River Matthews and his fantastic album, Imogen. Gorgeous songs like Fool for You and Sunshine sit in the head and swim in the blood. It might not be as urgent and spectacular as efforts by Superorganism but I wouldn’t bet against him being in the mind of the Mercury panel’s mind. I would also like to bring in Tom Misch and The Orielles for possible contenders. I love Misch’s Geography and, so too, do the critics. He has been making waves and made big strides since he came onto the scene. NME gave their views regarding Geography:

“On ‘Man Like You’ Misch shows he’s found a way to fit traditional instrumentation into a modern pop format, but elsewhere he seeks help in the form of some stellar collaborations. Multi-talented singer Poppy Ajudha guests on dance shuffle ‘Disco Yes’, while standout track ‘Water Baby’ sees him team up again with louche hip-hopper Loyle Carner (also from south London). ‘90s icons De La Soul are the heavyweight feature on ‘It Runs Through Me’ — a euphoric, riff-laden tribute to the power of music”.

The Orielles’ Silver Dollar Moment trips through their back catalogue and throws in some nice angles and unexpected moments. The Yorkshire band are hotshots who are proving to be one of the most reliable and delicious bands in Britain. I am confident they will get a nomination and be included among the bookies’ favourites. If you want two established British artists who could get a shout this year then maybe Franz Ferdinand and The Wombats will be included.

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IN THIS PHOTO: The Orielles

Always Ascending and Beautiful People Will Ruin Your Life (respectively) are not the best works from each band but both sold well and gained some positive reviews. They might be outside bets but, again, I would not be shocked to see these albums included when the nominations are made. I would like to see Django Django and Shame make the Mercury Music Prize list. The Guardian reviewed Django Django’s Marble Skies and highlighted its worth:

“…It’s impossibly lovely, one of those moments when Django Django seem more like alchemists than investigators. They may never make a perfect album – a certain unevenness seems inbuilt in their approach, where not every experiment turns out quite the way you might have hoped – but they’re capable of making music that sounds close to perfection“.

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A couple of other possibilities lie with Jorja Smith's debut, Lost & Found and SOPHIE's OIL OF EVERY PEARL'S UN-INSIDES. Smith, in particular, has amazed me with her confidence and incredible authority - an artist who is primed for longevity and great things. She is able to let a song get into the heart, move through the blood and stay in the head for an awfully long time...a hard trick to pull off in the modern music climate! Shame, a band who stunned with their debut, Songs of Praise, is another big record that NEEDS to be in the longlist. Many were baffled last year when IDLES failed to get an inclusion for the Mercury with Brutalism. IDLES might redress that error when they release their sophomore album at the end of next month but we definitely need to see a Punk-flavoured record included among the frontrunners. A few of last year’s nominated names – Kate Tempest and Loyle Carner – wrote about the realities of Britain from a London perspective. The Shame guys are from South London, so many might think another winner from that neck of the woods might be taking things a bit far!

I reviewed The Go! Team when they released SEMICIRCLE. Writing for Too Many Blogs; the music jumped from the speakers:

“‘Hey!’ – again back near the top – is a snarling, stomping rebel that has horns and avalanche-beats striding and strutting like a bad-ass mother-fucker. It is one of the best tracks on the album and one that reminds me of their debut. I mention it because as the final few tracks come to mind, I notice how far the band have come and how confident it all feels. ‘She’s Got Guns’ steps into hip-hop and rap more overtly than before with hints of Neneh Cherry during her ‘Buffalo Stance’ days, and ‘Getting Back Up’ is a finale that seems to unite ‘Mayday’ with ‘Semicircle Song’ in a grand showdown”.

It is another outside shot but I could well see that album included among the twelve that will be announced very shortly. The other albums I would like to see included are Florence + the Machine’s High as Hope; LUMP by LUMP; Jon Hopkins’ Singularity and Lily Allen’s No Shame. I feel a Lily Allen/Shame name-similar, London head-off might be a good battle. Laura Marling has been denied a Mercury award so I would like to see her (and Mike Lindsay).

I feel LUMP is the best shot at a nod because of the uniform positivity the record garnered. Whilst the other records did receive big love; I feel it the time for Laura Marling to receive her dues – and her wonderful partnership with Lindsay. The Line of Best Fit nailed the eponymous album perfectly:

“Lindsay’s experimental compositional style that has evolved through Tunng, Throws and producing other artists’ albums, brings out Marling’s assertive vocals. The last two songs in particular are full of breathy, mouth sounds. When Marling sings “Salt air is healing / Nakedness revealing / They go so well” on “Shake Your Shelter”, it is a beautiful summation of LUMP’s sound and message – an ambient, compelling and unique look into whether contemporary life really has to be so empty”.

I suspect Jon Hopkins is going to be this year’s equivalent of the ‘outsider’. You know the albums I mean, They might be Jazz-influenced or a bit out-there; not commercial enough or one of those records that demand proper attention. I feel, mind, if I were to compile a top-six I would have Hopkins’ record alongside Let's Eat Grandma; Field Music, Shame; LUMP and, maybe, Arctic Monkeys. That would be a varied and interesting camp where anything goes!

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IN THIS PHOTO: LUMP (Laura Marling and Mike Lindsay (and 'LUMP')

What do my predictions show, then?! Well, for one, there is still a heavy leaning of male artists but, to be fair, more female inclusion than previous years. There is a lot of Pop and Rock in the list and a complete absence of anything too far-out and experimental. There are no controversial shouts – like Ed Sheeran from last year – but there is mainstream Pop in the form of Lily Allen and Kate Nash. Both of those artists have plenty of attitude and grit in their music – something the panel looks out for when deciding on their choices. My personal face-off would be between Field Music’s Open Here and LUMP’s LUMP. Maybe neither album will be longlisted or, if they are, neither will win. One never knows what to expect when it comes to the Mercury Music Prize. I feel Nadine Shah's Holiday Destination, released in August of last year, warrants inclusion on the longlist; Gaz Coombes' World's Strongest Man and Gwenno's Le Kov are all, too, deserving of inclusion on the list of twelve - there is plenty of hot competition and brilliant British bounty! Many are shouting against a pitch for Arctic Monkeys; others are calling for newcomers like Tom Misch to get a nomination. Whilst many best-of-the-year-so-far lists are putting American albums/artists near the top of their pieces; the selection of albums I have included in this piece show there is ample British brilliance. Who will win the Mercury is anyone’s guess but one thing is for sure…

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WE have been spoiled for choice this year!

INTERVIEW: Dragonz

INTERVIEW:

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Dragonz

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I have been chatting with producer Dragonz…

about his new single, Dream Days, and working with singer Joe Bateman. He reveals how he came to meet the singer and whether he is working with Bateman again; the sort of music that drives his own creativity; what he hopes to achieve before the end of the year – Dragonz reveals three albums that mean a lot to him.

I ask the producer whether there will be any tour dates coming up and what advice he would give to new artists emerging; if there is an upcoming musician we need to get behind – I ask whether Dragonz gets any time to chill away from music.

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

Pretty good. I have been busy with the launch of our single, Dream Days, which came out on 6th July - and also been working on some new tracks.

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

I’m a producer and songwriter based in North London. I write melodic Pop tracks and work with various featured artists.

Dream Days is the new song. What is the tale behind it?

These are pretty dark times for the world and I just wanted to write a positive, happy love song.

Was it easy putting it all together? Was the creation quite natural and fast?

The writing of the song was fairly straightforward, yes, but it took some time to get the production sounding right.

Joe Bateman is on the track. How did you come to meet him? How did you react to hearing his vocal back?

I met Joe online. He’s very talented as well as having a great voice; he plays guitar, piano; violin, mandolin and drums to a high level. I was delighted with the vocal he did on the track. It’s very beautiful and I think it is reminiscent of Sam Smith at his best.

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IN THIS PHOTO: Joe Bateman

Which musicians are most important regarding your own sound? Did you get into music quite young?

Yes. I took piano lessons from an early age and did up to Grade 8 on it. I also taught myself the guitar and music production. I’ve always been a huge lover of music and have a very wide range of music that I like, from the 1950s to the present-day.

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

Yes. I’ve already recorded another track with Joe and hoping to bring that out a month or two after Dream Days comes out.

Are there going to be any tour dates coming up? Where can we see you play?

There are no tour dates arranged as yet, but would be great to be able to do that.

Is the stage somewhere you enjoy being? Is there a different sensation being out among the people as opposed to the space of the studio?

I prefer the studio myself, that’s my natural habitat, but I do enjoy playing live as well.

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

I would love Dream Days and its follow up to become a success.

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

I haven’t got one particular memory, but my favourite part of the songwriting and production process is when I hear vocalists singing my songs and bringing them to life - never tire of that

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

That’s a difficult one because I like a huge amount of music - and also much of the music I like these days tends to be single-based. But, if pressed, I would have to say:

London Calling by The Clash; Very by the Pet Shop Boys and Hot Fuss by The Killers.  

What advice would you give to new artists coming through?

Work hard at improving your skills and never give up. It’s a very tough business and you are probably going to need to handle a lot of knock-backs before you become successful.

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 IN THIS PHOTO: Jon Sine/PHOTO CREDIT: KIDKUTSMEDIA l Photography

Are there any new artists you recommend we check out?

I’ve been listening a lot to a producer called Jon Sine recently. I like his style. He also has a great YouTube channel documenting his musical journey.

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

I’m very into travelling. I’ve been to Taiwan and Hong Kong recently. I also like sports.

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).

Here’s a song I really like by Max Jury (Little Jean Jacket) - remixed by Jon Sine, who I mentioned before

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INTERVIEW: Sharkmuffin

INTERVIEW:

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PHOTO CREDIT: Kelly Knapp  

Sharkmuffin

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IT has been a ball speaking with Sharkmuffin…

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PHOTO CREDIT: Kelly Knapp   

about their sound and the vibe in camp. They have a new song, Your Stupid Life, out but I speak to them about their previous cut, Liz Taylor. The band discuss their tastes and which new artists we should keep an eye out for – they reveal some U.K. dates and talk about their love for the country.

I ask Sharkmuffin about their early musical experiences and whether they feel women in modern music are told how to play and look; how they all unwind away from music; if they have any advice for artists coming through – the band each select a song to end things with.

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

Tarra Thiessen: Good! I was at the Jersey shore for the fourth of July and ate some Taco Bell on the way back from the beach - and my insides are feeling a little weird now.

Natalie Kirch: Great! Very full! I finished teaching for the year and pretty much went straight to the beach to relax with my family and BBQ; then, hopped to another beach to spend some time with friends and listen to some music.

Jordyn Blakely: I’m good. Drinking my first coffee of today, which is one of my favorite moments of the day! I went to the beach a lot last week with a friend, and my mom visited me over the weekend. I love summer because I get to see friends more often.

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IMAGE CREDIT: Cult Days

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

TT: I'm Tarra - I sing and play guitar.

NK: I’m Natalie - I sing harmonies and play bass guitar.

JB: I’m Jordyn and I play drums! I sing backup vox sometimes, too.

Can you talk about Liz Taylor and the song’s origins? How did it come together?

TT: My mom has been wearing Liz Taylor’s white diamonds perfume since I was a child and it’s impossible to wash that smell out of clothing, so everything always smells like that when I go home. But, she actually she texted me the other day and said she’s going to start wearing less of it! So, that was an unexpected result of the new song.

When did Sharkmuffin get together? How did you meet? Is there a story behind the band name, too?

Natalie and I met and began playing with each other six years ago and we met Jordyn while she was drumming for a band called Butter the Children in 2012. Sharkmuffin has had a very colorful cast of drummers over the years (you can find all of their faces, including Jordyn’s, on the cover of our first record, Chartreuse) and we’re so happy to be playing and touring with her again!

NK: Tarra came up with the band name and since we have heard of many associations and rumors that came along with it. Even if none of them is true; it’s fun to hear what our friends, fans and critics come up with - so I don’t want to burst any bubbles! Tarra and I are about to celebrate the sixth year since our first show together (and my first show ever) on July 14th, 2018. Jordyn was one of the first few friends to drum for us and we are thrilled that she’s back in the band and able to tour and record with us now.

JB: I’ve played with Sharkmuffin off and on over the years and have been friends with them since I was new to the music scene in N.Y.C.; so it’s exciting to be more involved with them musically and get to know them better!

It seems you have plenty of ambition, drive and spunk. Do you think too many female artists are told how to play/look? Do you think changes need to come in?

TT: I don’t have any specific memories of anyone directly telling me how to look/play but I feel like social media, in general, can breed an anxiety that everyone else is doing better than you – which can seep into your unconscious and influence your aesthetic in a way that it may not have gone. But, it’s definitely positive to be inspired by your peers and to feel like we’re all in it together.

We’re the first generation of musicians to have such a direct way to promote our shows and music and create a community around it - and that change in the music industry itself is really positive and leaves room for everyone to have a unique voice. Everyone in the music community we’re a part of has been super-supportive of us and I’m really grateful for that!

NK: I agree with Tarra! I think that, being a woman, you will most likely encounter some subtle attempts to subdue or reconstruct your ‘image’ or tone. However, we have been lucky enough to perform how we want to and create what we want to and, for the most part, we have been surrounded by positive and proactive people.

JB: Totally. I feel there is intense pressure for women to be ‘hot’ and that that is more important than their talents, thoughts and feelings they’re trying to communicate through their work. In the entertainment industry, this is especially emphasized but I think you just have to believe in yourself and believe in what you’re doing and know that what you’re creating is more important than how much you appeal, sexually, to a group of people. If the right audience is listening, then your appearance shouldn’t be the most important thing.

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PHOTO CREDIT: @mixtapemyheart

I get a sense you mix a love of the West Coast sounds of the 1960s; bits of Riot Girrrl and the Grunge movement of the 1990s. Is that a reflection of the artists you grew up around?

TT: Yes ! I grew up listening to The Ventures, Dick Dale; Nirvana, Bikini Kill and The Beach Boys. I also love '70s classic rock like Led Zeppelin and the Garage-Rock bands in the early-'00s like The White Stripes and The Yeah Yeah Yeahs.

NK: Definitely! My parents played a lot of Classic Rock like The Rolling Stones, The Beatles; Beach Boys and David Bowie growing up but also Motown/female-fronted Pop acts like The Supremes or The Shirelles. I discovered a lot of the Grunge and Punk-era bands like Nirvana, Bikini Kill; Blondie, Hole; Sleater-Kinney, Sonic Youth; Pixies, The New York Dolls/Johnny Thunders (and so forth) on my own.

I don’t like listing bands like that because I always forget some huge influences, but oh well! I also really like The White Stripes and Yeah Yeah Yeahs. Tarra and I realized early on that we had very similar tastes; although I think she adds more of a surf tone to the guitar inspired by some of the Cali acts - and I add a lot of raw simple sludge like the East Coast Punk artists.

JB: I also was obsessed with Nirvana and Led Zeppelin when I started playing drums and loved Classic Rock stuff like Jimi Hendrix, Queen; The Doors, The Beatles; Janis Joplin, Black Sabbath…I also loved Punk and Pop-Punk when I was new to playing music like Rancid, Operation Ivy; The Distillers, The Casualties; NOFX,  MXPX and Minor Threat. It’s been fun to revisit these earlier influences in my playing – plus, Sharkmuffin introduces me to new music and bands that I wasn’t aware of back then.

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PHOTO CREDIT: @mixtapemyheart

Is there a pretty varied scene in Brooklyn right now? How does it compare to the other New York boroughs in terms of sound and tone?

NK: I think it’s varied in terms of genre but we would like to see some more of a convergence between different types of music and more cultural diversity within the genres.

JB: It’s such a large environment with so many participants, so it’s kinda like a lot of smaller circles that Venn diagram into one another and all connect since we’re all in the same place, sharing the same venues and audiences. I like that because it gives ‘the scene’ some diversity and it feels like there is a sense of togetherness. I guess it varies in terms of different genres or instrumentation. I’m not around there enough to know, but it seems like Manhattan has a more D.J.-oriented scene with less prominence of live performance.

What do you hope to achieve before the end of 2018?

TT: Write and record our third L.P.!

NK: Ditto that!

JB: Yay. I’m down!

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

TT: It was really amazing playing last year at Mello Fest in the U.K. and we met Robert Plant of Led Zeppelin backstage. That was nuts! Also; our first record release at Shea Stadium in Brooklyn was one of my favorite shows ever.

NK: Both of those times were incredible moments for me! Also; recording at the Record Plant (everyone treated us like queens there) and with Patty was a definite highlight. She was a big inspiration to us growing up, so it was cool to play with her. She was also very down-to-earth and easy-going.

JB: We played a show opening for HINDS earlier this year and it’s always exhilarating to play a big show like that; it still feels new. The audience was really fun and welcoming. I love meeting new people. It was a learning experience for me to be in such a different setting. Also; playing Brooklyn Bazaar with Gym Shorts was cool. I got so hyped on that band after seeing them! There was someone giving free tattoos during the show, which was hilarious and weird and I love playing shows that are weird.

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 PHOTO CREDIT: Kelly Knapp   

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

TT: The Breeders. I just want a bowl of unwrapped fruit punch Starbursts to eat after our set.

NK: The Breeders, for sure! Lots of sparkling water, chips; hummus and hot sauce to add to that.

JB: The Breeders would be amazing! Autolux would be a dream come true. Lots of candy, beer and cheese backstage, please! That sounds kinda gross all together - but I love those things individually.

What advice would you give to new artists coming through?

TT: Do not take anything (criticism, inter-band drama etc.) personally. Appreciate everyone’s time and energy involved in your project, no matter how small.

NK: it sounds cliché but clichés exist for a reason - believe that you can do it. Always be grateful to the people that support you, both within your band and in the wider scheme of things.

JB: Yes I agree with those! Try to keep going even if you feel discouraged or encounter rejection, which will happen. Listen to yourself regarding what you want: you won’t please everybody and you can’t control what people think of you.

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IMAGE CREDIT: Megan Mosher

Where can we see you play? Do you have any gigs approaching?

Our U.K. dates are:

#SHARKMUFFINUKINVASION2018TOUR

7/27 PORT ELLIOT FESTIVAL

7/28 THE COTSWOLD INN, CHELTENHAM

7/31 GWIDHW, CARDIFF

8/1 AL'S DIME BAR, BRADFORD

8/2 THE CRYPT, NORWICH

8/3 THE GREEN DOOR STORE, BRIGHTON

8/4 THE ANGEL, NOTTINGHAM

8/6 THE UNDERGROUND, STOKE

8/7 THE LOCK KEEPER, CHESTER

8/8 NIGHT & DAY, MANCHESTER

8/9 THE PARISH, HUDDERSFIELD

8/10 SEBRIGHT ARMS, LONDON

8/11 THE SWAN, IPSWICH

I believe you are coming to the U.K. to perform. Are you quite prepared for our stiff upper lips, weak beer and dissolving Government?!

TT: I like whiskey. Do you have whiskey there?! You know who our President is so I think we’re ready for anything!

NK: We love the U.K.! Everyone was so kind to us our first round there and the country is really beautiful.

JB: I’m really excited to explore new cities in the U.K. I haven’t visited before. I feel I have a lot to learn in regards to the mannerisms there; British are always so polite but I can’t tell if they just secretly hate you. Haha. But, I can understand why everyone would hate Americans right now, sadly.

Have you performed over here? Do you like British sounds?

TT: Natalie and I came last year with a different Sharkmuffin line-up and we loved a lot of the bands we played with. We played The Great Escape last year in Brighton with PINS and played again on our last night of tour with Pussy Liquor at Green Door Store. We’re playing at Green Door Store again on August 3rd!

NK: Yes. We had such an amazing time meeting everyone over there and traveling around the country.

JB: I’ve played in the U.K. with a band called Wardell and another time with Kino Kimino. My favorite show was at Sneaky Pete’s in Edinburgh (with K.K.). The bands were all great and the audience and the venue were so friendly! This is my first time with Sharkmuffin though. It blows my mind how ancient some of the castles there are; they were so well-built!

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 IN THIS PHOTO: Lola Pistola/PHOTO CREDIT: Kaya Yvsi

Are there any new artists you recommend we check out?

TT: There are so many great bands in N.Y.C. right now like Def.Grls, Tall Juan; Lola Pistola, Sloppy Jane and Fruit & Flowers (who just came to the U.K. last month as well).

NK: All of those bands are great. Also; Lost Boy ?, Kino Kimino (that Tarra and Jordyn also play in); Haybaby, The Big Drops; THICK, Grim Streaker; Holy Tunics, Sic Tic; BIG UPS, Gustaf; New Myths, Dentist; The Off White. So many more. SO MANY!

JB: Big Cheese, The 94 Knicks; Poppies, NOICE; Free $$$, Yazan; Ovlov, Sean Henry and Anna Altman!

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IN THIS PHOTO: Kino Kimmino/PHOTO CREDIT: Thomas Ignatius

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

TT: Natalie’s family has a really lovely house at the Jersey Shore. Last time I was there I found a baby praying mantis on a donut pool tube and that was magical. I drank a glass of wine while floating around the pool for like an hour after that.

NK: Yes. That house is our place of zen. My cats and my parents’ cats also roam free on the lawn so there’s also adorable fluffies in addition to the water. I saw a baby seagull today - he was really cute and I was worried about him but then he made his fledgeling flight. The original house was destroyed in Hurricane Sandy in 2012 but some of Tarra and my first collaborations were in my old room at the original house.

JB: Not lately, but I’m really enjoying everything I’m doing musically! When I’m trying to tune out I watch movies or T.V. with friends, go on walks; cook with my roommates, play in my backyard with my cat; read books, color in coloring books. Going to shows and jamming with friends is a big way that I unwind, so, maybe I need more hobbies. Haha.

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).

TT: DRINKS - Real Outside

NK: Lost Boy ? - Taste Butter

JB: Cleaners from Venus - Only a Shadow

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Follow Sharkmuffin

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