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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: ARXX/PHOTO CREDIT: Jessie Morgan Photo

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

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THIS might be the last playlist…

IN THIS PHOTO: Snoh Aalegra

for a little while. Before moving to something else, I wanted to collate some great female artists/female-fronted bands that have produced some great songs from this year – there are some ace cuts from 2017, too. I have been looking around the musical world and looking for those songs that express the contrasts of summer: the blazing heat and warmth combined with the cooler moments and night-time relax. Have a listen to the selection of tunes and, hopefully, there are some tracks that will catch your ear and…

IN THIS PHOTO: Ocean China

MAKE your day.

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

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PHOTO CREDIT: @violetfoulk for Hooligan Magazine

Kississippi – Mirror Kisser

Track Not Found – Science (Gone Wrong)

Jena Rose – Boy with the Balloon

PHOTO CREDIT: Rosie Powell Freelance

ARXX – Intervention

Snoh Aalegra – Sometimes / Worse

PHOTO CREDIT: Katie Gatt

Colour Me Wednesday – Sad Bride

Anna Clendening – Boys Like You

PHOTO CREDIT: Robin Christian

Muncie Girls – Locked Up

Jade Holland – Drive Thru

Tiana Major9 – Mr. Mysterious

Lucy Neville – Shameless

Essie Holt – Magnetise

Danielle Bradbery – Worth It

H.E.R. – Against Me

Jamilah Barry – CLOSER

Ellie Rose – Plastic City

Gazelle Twin – Hobby Horse

PHOTO CREDIT: Elliott Arndt

Emma-Jean Thackray - Make Do

Delaire – Something More          

Holander – Smoke

Beth McCarthy – Mr and Mrs Brown

Ocean China – Treasure

Chloe Foy – Asylum

The Regrettes – Helpless

INTERVIEW: M. Rivers

INTERVIEW:

M. Rivers

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THE brilliant M. Rivers…

has been discussing his new single, Don’t Drink the Water, and how it came together. I ask the L.A. artist how it differs to his hit, Champions; whether Los Angeles is a great city to create music in; when he began his career  - the songwriter tells me how it feels having a large and impassioned fanbase.

M. Rivers talks about a precious memory from his time in music; which upcoming artists are worth seeking out; the advice he would give to artists coming through; what he hopes to achieve by the end of this year – he selects a song to end the interview with.

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Hi, M. Rivers. How are you? How has your week been?

Absolutely busy and exciting - a single released; an article in Billboard; being played on the radio nationwide; an interview with you. All good.

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

I’m a recording artist from Los Angeles, CA. I create. I am but a messenger and a storyteller for the human condition and I stand for equality and love.

Don’t Drink the Water is your latest cut. Is there a story and history attached to the song?

Yes! I wrote this song for everyone who contemplates the reality we are presented by the media and our institutions. I want us to think for ourselves and recognize the manipulation by mass media and the one percent who control us and keep us down. Power to the people.

How do you think it differs to Champions? Did you feel pressure to follow the success of that release by providing something even bigger and more memorable? 

Every song I create has a different purpose and a different existence for the listener. Champion is an idealistic song that plays with the ego and manifests a certain type of destiny. Don’t Drink the Water is a very down-to-earth expression of the suppressed culture that we have grown up with and the cover-up of a somewhat perfect society that Americans have sold to their own people. It simply questions our integrity as a people and the education process and information we have been given.

You have won a lot of fans and seen your music spread around the world. How does that make you feel?!

I’m no-one's hero: I am simply a voice for the people. It feels good when people identify with that message; it gives me purpose. There’s plenty of resistance and I’m okay with that too. I don't have a solution to our social and economic problems: I’m simply creating art that reflects what I believe to be our human disposition.

When did you begin your career? Was there a moment when you knew music was what you were meant to do?

No specific moment, but a visceral gut feeling I had a connection with people. I always manifested playing in front of audiences. I studied great lyricists and performers that impacted people’s lives. Thirdly, keeping it real; not singing with character in my voice or anything that was a put on; to be able to go out there and speak to people on a real and personal level - the likes of Bill Withers and Tom Petty. To be able to totally teleport to another dimension; communicating with an audience on another plane.

That is the ultimate goal for me as an artist.

There is a lot of great music coming out of Los Angeles. Is it the best place in the world to create and release music do you think?! Is there a great buzz in the city?

It doesn't matter where you come from or how many people you know. After fifteen years and four record deals; after two-thousand shows and being bankrupt twice, I can honestly tell you that, for me, it only matters that you write a great song: relevant, important and cool. The rest is bullsh*t.

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

I want to become visible. I want guys like Beck and Jay-Z saying: “Who the fu*k is this guy?!”

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

There will. Please follow me on my socials: @m.riversofficial for Instagram and @mriversofficial for Facebook.

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

I have lots. Mostly connecting with fans. I’ve played so many shows and I had a moment at Rock on the Range where we were a tad behind and the crowd was chanting. About eight-thousand people. I took my time; I didn't want that moment to end. The moment I walked out, the crowd started surfing and flipping out.

I had waited for that moment for a long time and I enjoyed it; my fans and fellow music-lovers showed me love and respect that took me a lifetime to earn. It was a good day.

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

For me, it’s all about the songs, not the albums. There are, like, thirty or forty songs that mean the most to me. It’s so cool to me when people exist with albums but I’m a song guy through and through.

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

Ray Charles…and we’d need a '59 Cadillac.

What advice would you give to new artists coming through?  

Don’t get caught up in the hype. At the end of the day, we sing songs.

IN THIS PHOTO: Mad Hawkes

Are there any new artists you recommend we check out?

Definitely check out Mad Hawkes; Rows; Fitness; Lost Beach; Desi Valentine and Davey and the Midnights.

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

Working on old cars and riding my old Harley helps me unwind for sure - but I never need to chill away from 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).

Play Fantasy by Mad Hawkes

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Follow M. Rivers

Official:

https://www.mriversofficial.com/

Facebook:

https://www.facebook.com/m.riversofficial/

Twitter:

https://twitter.com/mriversofficial

Instagram:

https://www.instagram.com/m.riversofficial/

YouTube:

https://www.youtube.com/channel/UC3fu91CwlME9VEOV8nwLLcw

Spotify:

https://open.spotify.com/artist/5SqQ2BsqQY4Z08UvFFfMc8

INTERVIEW: OPEN ARMS

INTERVIEW:

 OPEN ARMS

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IT has been great…

speaking with Ben of the band OPEN ARMS. He has been telling me about their latest single, Honey, and what its story is. I ask him about their upcoming Sunflowers E.P. and what sort of stories impacted its creation; how the band got together and what music they grew up listening to – Ben chooses some upcoming artists we need to get involved with.

I was keen to learn whether the guys, being based out on Birmingham, have a lot of opportunities; if there are any gigs coming up; whether Ben (and the guys) find time to unwind – each band member ends the interview by selecting a track.

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

Ben: Hi! It’s been pretty crazy this week. Things are starting to pick up ahead of our new release.

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

We are OPEN ARMS - a four-piece Pop band from Birmingham. We are influenced by a mix of Michael Jackson, Madonna; Journey, Walk the Moon, The 1975 - and pretty much everything in-between.

Honey is your new single. Can you tell me its story and how it came together?

We wrote the song about eight months ago. The songs can stem from lyrical or musical beginnings but this one was kind of a mixture of the two. We had worked on the track at a similar time that I wrote the lyrics for it and somehow the two married together really nicely. We spent some time working on it in a closed environment, which is usually how we write, and we just fell in love with it.

What I love about it is that it took us in a totally new direction - one that we knew would be commercially viable but still an interesting Pop tune that stands out. It got stuck in our heads and has been ever since, at which point you know you’ve got something.

It is from the Sunflowers E.P. In terms of themes and stories, what has impacted the writing and direction?

I think the main driving force for this body of work is the fact that we’ve been writing solidly for months and months and we kind of got engulfed by it. The last record we put out was Telescope last February and it’s been frustrating to only have that in our repertoire in terms of released music for over twelve months. It put us in a really emotive state where we’ve just wanted to take everything we’ve done in that year and make something that can summarise it - which is not an easy thing to do.

We’ve had a lot of personal stuff going on - huge celebrations and devastating losses - and I think you can hear that in this upcoming EP. It’s almost a soundtrack to what we were going through. The title track (Sunflowers) was written around the same time as Honey and carries quite personal messages. It’s my late grandma’s favourite flower but it became a metaphor for that feeling of trawling through so much and coming out of the other side.

Anyway; I’m a firm believer in not giving everything away where music is concerned because I think the best records are those that develop a personal meaning to the listener…so I guess the rest is up to you!

How did OPEN ARMS get together? When did you come across one another?

The three of us (minus Sam the guitarist) grew up together in secondary school and played in various cover bands and line-ups. We started writing music back in late-2014 and the results weren’t as bad as we thought they would be. Saying that they wouldn’t stand against our current music but they weren’t horrific. We got Sam in by around September 2015 and really started writing and playing live as a unit. It was as if we just knew from that point we were doing something right.

The songs even at that point managed to connect with people and we developed a decent fanbase of really passionate people, all learning lyrics and such. It was very surreal.

What sort of music did you all grow up listening to? Are there particular bands who have inspired you to write your own music?

We were all brought up on Classic Rock funnily enough; bands like Queen, Thin Lizzy; Guns N’ Roses and, of course, Journey. We’ve always prided ourselves on being sixty-year-old souls because we love all music and we’ve learnt so much. I don’t think there is one music genre that we haven’t grown up loving and this has helped massively in writing our own stuff.

I think Michael Jackson has always been in the forefront of music, along with Prince and Queen. We’ve learnt so much from those artists. They do music as a package and a brand - not just a few thirteen-track albums.

Do you think there will be touring dates? Can we catch you play?

We are just organising a winter tour - provisionally from mid-October through till Christmas, but time will tell. There will be odd shows before then though so it’s worth keeping an eye on our socials.

What has the reaction been like to your gigs? Is it still quite scary so early in the career playing songs to the people?!

From the start, we managed to suss out what was required to put on a show. We managed to learn pretty early on what makes people tick and we’ve always been known to offer something to audiences of all ages and backgrounds.

The scary ones are the intimate ones - if we do a festival it’s difficult to pick out the man shaking his head thirteen rows back, whereas in the basement of a club you’re all on each other’s laps. However you do sometimes get some intimate shows where the whole room is on one wavelength and that can be just as incredible as playing to a few thousand people at a festival, so it’s a gamble really.

Our love for playing live has translated massively into how we pull off our songs live. We have quite ambitious multitrack synth anthems that require a lot of planning to make sure we can get across the sound we want.

You are based out of Birmingham. What is the scene like there right now? Does the area get the attention it warrants?

Honestly, not great. We’ve found that when it’s good it’s great - but that’s very rare.

It’s all down to who you work with, what ‘promoters’ will work best to what you need them for. You would think that, with Birmingham being such a big name in the U.K., its music scene would be the next step down from a place like London...but it’s just not. The walk-up audience is non-existent, but we have kept our head above water by going all-out and making the most of everyone we meet. Birmingham’s music scene isn’t what it should be - we want to be a part of changing that.

If you had to select the album that means the most to you; which would it be and why?

Escape - Journey

I don’t think there is a more diverse and significant body of work than this. It boasts the impressive Don’t Stop Believin’ as its feature track but, in fact, that’s my least favourite song on it (and I love that song) which is a testament to how great the album is. It gave us our name and it’s been an anthem for our family events since I was little. I would highly recommend it to anyone.

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

It has to be when we opened the Solihull Summer Fest. We met some incredible and prestigious musicians such as Lulu and Peter Andre and just had the best day.

A close second was our first play on BBC Introducing.

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

The 1975 have played a massive part in our development and we identify with them heavily, so that would be a dream come true.

I’d like to say the rider would be something like cocaine and vodka but actually it’s more along the lines of white wine and pretzels. Sam would have Smirnoff Ice and Josh would have Jack Daniel’s and Coke (Coca-Cola). Drew, on the other hand, will have whatever is going. There would probably be a speaker on it as we love listening to music before we go on stage - and something daft like a poster of Ariana Grande… like I say, we aren’t very cool.

What advice would you give to artists coming through?

Just get a game-plan that’s inspired by those around you but full of your own ideas - and stick to it. But, it’s dependant on what you want out of it. We’ve always known that we want to go to the top and to do that it’s got to be your life.

IN THIS PHOTO: Walk the Moon

Are there any new artists you recommend we check out?

Walk the Moon are huge in America and have had a few hits over here but they are another band who I promise have never done a bad song. You won’t be disappointed.

Also, there’s a very new artist called No Rome who signed to Dirty Hit recently. We like him a lot.

IN THIS PHOTO: No Rome

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

We try and balance it the best we can but we find our social lives revolve around the band anyway. Since mid-May, we’ve had about three full weekends off and that’s it. We always try and go for a night out to unwind. Otherwise, it’s giving a little time back to your family and friends who can get a little neglected with the line of work we do. They help us so much, so that’s really important we give back to them when we can.

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

If it’s not our music, we will go with the following:

Ben: Heart Out - The 1975

Sam: Everybody Wants to Rule the World - Tears for Fears

Drew: City Of Angels - Miguel

Josh: Kamikaze - Walk the Moon

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Follow OPEN ARMS

Official:

https://www.openarmsbanduk.com/

Facebook:

https://www.facebook.com/OpenArmsUk/

Twitter:

https://twitter.com/OpenArmsBandUK

Instagram:

https://www.instagram.com/openarmsuk/

YouTube:

https://www.youtube.com/channel/UC4TJRgAt335FhmyORsgi_FA

FEATURE: In Vogue: Madonna at Sixty: How the Pop Icon Has Remained Untouched and Ever-Inspirational

FEATURE:

 

 

In Vogue

IN THIS PHOTO: Madonna in 1994/PHOTO CREDIT: Bettina Rheims

Madonna at Sixty: How the Pop Icon Has Remained Untouched and Ever-Inspirational

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IT is rather wonderful…

IN THIS PHOTO: Madonna in 1995/PHOTO CREDIT: Mario Testino for Versace

that I get the chance to wish a happy sixtieth birthday to two female music icons in the space of a couple of weeks! Although Madonna does not hit the big six-o until the 16th of this month; many publications and fans are coming out and wishing her all the best. The other artist who I paid tribute to was Kate Bush – it seems strange far fewer people have celebrated her birthday and contribution to music! I will bring in other articles, that mark Madonna turning sixty, but I wanted to put my thoughts together; two different periods where Madonna’s music has made an enormous impact on me. It is undeniable they (music) make fewer genuine personalities than they used to. When talking about Kate Bush, I was keen to explore her attachment to literature and nature; her love of dance and how her personality and unique edges fed directly into the music. I will talk about her more a bit later this year but, right now, it is the turn of Madonna. We all know about her musical talent and her activism; the way she fights for gender rights and, alongside that, you get the raunchy, controversial and always-exciting star – who has not tamed or dimmed since she announced her musical presence in 1982. I was born, literally, a year after Madonna was (musically).

IMAGE CREDIT: Getty Images

Although I did not truly connect with Madonna’s music until, say, 1987-ish; I was instantly aware of who she was and why people were crazy about her. True Blue had been out a year – Like a Prayer was a couple of years down the track! Having True Blue as the first taste of Madonna is a rather eye-opening and in-at-the-deep-end revelation. The album was dedicated to her then-husband Sean Penn but if you think it is all matrimonial bliss and safe music, you’d be very wrong! Unlike her earliest work, which I will track back to, there was something unapologetically raunchy and direct. Songs like Papa Don’t Preach showed she was not a crowd-following Popstar or someone playing it safe. Looking at subjects like pregnancy, sex and true love (explored on the album’s title-track); there was a lot more for eager ears than what the mainstream was providing. It is the album where we saw the Popstar Madonna dubbed an icon and legend. Taking more control as a writer – fewer cooks in the kitchen than previous records – everything about the young superstar caught the media’s eye. From her rebellious fashion – she managed to mix sexy and alluring with stylish and chic – and songs that sparked conversation and debate…this was all very exciting for a child who was not used to an artist like Madonna.

Whilst, in 1986, Madonna was joining the ranks of music royalty like Prince and Michael Jackson; I was making up for lost time and discovering her previous albums (through my parents plaing them). I feel her first ‘big’ hit, Holiday, is a bit of a red herring. It is undeniably catchy and populist but it shows Madonna in a more traditional Pop mould. It is amazing to think the artist who performed that song in 1983 would, very quickly, ditch the cutesy clothing and choruses to produce something much rawer and adult. Madonna’s eponymous album (1983) contained blistering songs like Borderline but, as a writer, a lot of other people were telling her story. Even in 1983, Madonna had her own style and sense of flair – more on that later. Like a Virgin, in 1984, saw the controlled and directed Madonna take more control and call shots. She was unhappy regarding her debut and the men making calls – too many songs written for her and producers like Reggie Lucas exerting too much influence. For Like a Virgin, she selected Nile Rodgers to produce. She was impressed by his work with Chic and felt he would allow her more control (Madonna is listed as a co-producer on the album). The reason the record struck me was that self-expression and strength come through. Look at the changing fashions and sonic shifts; the way her music retained its catch and memorability but employed more sass, funkiness and tautness – a true artist coming into her own and shining a light for female musicians and artists.

Tracks (from Like a Virgin) like Material Girl and Like a Virgin showed a transition and what was to come: the awakening and revolution from the put-upon and slightly muted artist taking a stand and standing out. If materialism and sexual revolution were, by her later standards, a bit tame; one cannot deny how Madonna’s rise and popularity changed music. I am too young to remember the album when it first came out but was discovering it when I was at school. The reason why Madonna’s early music made such an impression on me was, like Kate Bush, because of her immense talent and strength. So many artists of the time were being directed and moulded to be rather average and boring. These incredible artists, like Madonna, inspired generations to come and show female Pop artists could write and plan their own music. My female role models, outside of my family, were limited at that age. Music took over and, in the 1980s, most of the music I was being exposed to male-recorded; a lot of band stuff and musicians like Michael Jackson and Prince. Female empowerment was being explored and brought into the limelight on 1989’s Like a Prayer. I remember that album arriving and being blown away by this blonde-haired (although, she might have been slightly brunette at that point) siren whose Like a Prayer video caused all sort of shocks and headlines.

Independence, power and family were playing big roles in her music. Like a Prayer talks about Madonna’s mother, father and her Catholic upbringing; female empowerment and this young woman growing up in a very saucy and brilliant way. As a boy, I was struck by the music but was aware of her iconography and consistency. The U.S. artist was changing her fashion once more and lyrical themes. I had never encountered an artist as chameleon-like and primal. Her 1990s work like Erotica (1992) and Bedtime Stories (1994) kept up that move from traditional Pop artist to a sexualised and emancipated woman. Songs from those albums like Erotica, Rain and Human Nature were the talk of the playground for boys and girls alike! I will return to my love of her music and the second stage of her career that caught my mind. But, right now, I want to bring in a few other like-minded features that talk about the icon turning sixty. This article charts the fashion progression and how Madonna’s looks inspired other musicians and fans alike. It is clear that sex and female expression were big areas for exploitation:

“More than anyone, Madonna knows that sex sells. From her early performance at  the first-ever Video Music Awards in 1984, writhing on the floor in a wedding dress while she sang Like a Virgin, she knew that shock was the surest route to superstardom. Her stylist at the time, the much-overlooked Maripol (Madonna is better known for working with the stylist Arianne Phillips), was one of the few people close enough to witness the backlash she received, recalling how ‘they [MTV] tried to destroy her that day… they went under her skirt with the camera, trying to intimidate her’. If this early example of upskirting was intended to break Madonna, it actually did the opposite. It made her”.

IMAGE CREDIT: Getty Images/The Guardian

Even for a boy at school, I was aware of the ‘Madonna effect’. So many girls were copycatting her fashion during the 1980s and 1990s. In the 1980s, there was the teenage/young woman with all the excess of the period. There were bangles and hair tied back; lots of makeup and plenty to catch the eye. The more raunchy and revealing her albums became, so too did her fashion choices – much more provocative and rebellious. We all remember the 1990s conical corset that become part of Madonna’s Blond Ambition tour. That iconic fashion was designed by Jean Paul Gaultier and made a huge impact. Although that look was not mimicked at school – an unwise decision that would see many being expelled! – other artists were taking chances and liberating themselves. Madonna’s sexual pride and feminism has caused a stir throughout her career:

“Equally revolutionary, of course, is Madonna’s refusal to ‘put it away’. Feminism may have come a long way, but the vitriol aimed at Madonna’s sexuality as she ages is a stark reminder that when it comes to equality, we still have a long way to go. Slammed by some commentators at the 2016 Met Ball for wearing a gown that showed her (very pert) breasts and butt, it’s little wonder that she used her speech at the 2016 Billboard Women In Music Awards to highlight age discrimination.

‘Thank you for acknowledging my ability to continue my career for 34 years in the face of blatant misogyny, sexism, constant bullying and relentless abuse,’ she said. ‘Do not age. Because to age is a sin. You will be criticised. You will be vilified. And you will definitely not be played on the radio’”.

IN THIS PHOTO: Madonna during her Blond Ambition tour of 1990/PHOTO CREDIT: Sandy Hill/AP

Look at this piece in The Guardian and there is a lot of evidence to suggest Madonna’s fashion and iconic looks have managed to remain to this very day:

“In truth, popular culture still reeks of Madonna’s influence for a good reason: she’s earned it. Far from being a shallow shape-shifter, she always knew her way around a pop classic (her oeuvre is full of them), and developed a flair for choosing talented collaborators to keep her music fresh. Moreover, back when she could have played it safe, Madonna called herself an artist and acted like one, tirelessly reinventing herself. From plonking a black saint in the Like a Prayer video to putting out a book called Sex, at the peak of her fame, just about everything Madonna did alienated middle America, because she wanted to define the zeitgeist, not merely reflect it”.

Madonna managed to establish real change for women and shone a light on feminism (and not being controlled). She was the engaging and always-hungry artist who spoke out and represented those whose stories were not being heard. Madonna was a big supporter of gay culture and gay rights. At a time when the Aids epidemic was in the news (in the 1980s) Madonna was seen as irresponsible – often promoting gay culture and shining a light for the community.

IN THIS PHOTO: Madonna in 1982/PHOTO CREDIT: Gary Heery for the album, Madonna

If some saw her patronage as a catalyst for sexual expression, good times and recklessness; in actuality, she was representing members of a community hidden and cloistered. Gay rights have improved since the 1980s but artists like Madonna openly discussed the scene and gave many gay people a voice and sense of confidence. If it were not for her then many would have, as I am reading reports, taken their own lives or hidden their sexuality. She provided that flame and fire in order to bring to the masses the warmth, energy and togetherness of the gay community. Many also argue Madonna has helped advance the cause of L.G.B.T.Q.I.A. rights and opened many doors. Before I move on and conclude; I want to bring in an article where SOPHIE talks about Madonna’s impact on her – one of many modern artists who has been inspired by the icon - whether it is her fashion, boldness or music:

“Whatever is the established, easy‑to-consume current thing, Madonna always seems to push past that. I think anyone who has struggled with having their voice heard can relate to what Madonna stands for and feel empowered by her story and her music. She is not buying into people’s bullshit.

I think what I’ve learned from her is that you can work hard and still be a good person. Anyone who fights so long and so hard deserves to be an important figure in music.

And she looks like she’s having more fun than a lot of people I know at that age, so whatever she’s doing, in my opinion she’s doing it right”.

IMAGE CREDIT: Getty Images

After I had digested all the brilliant 1980s and 1990s work from Madonna – I shall fill some audio gaps in with a playlist at the end of this feature – it was her 1998 work, Ray of Light, that opened my eyes once more. Madonna has, since then, produced some brilliant albums and continues to be a major and always-changing force in music. Ray of Light, to many people, is her finest hour – I cannot argue against that declaration! I adore all the fashion, awakenings and perfect moments you get on records such as Like a Virgin and Bedtime Stories: Ray of Light was the rebirth and reinvention of a legend. There was a period, between 1994-1998, when many asked what Madonna would do next. She had not really put a major musical step wrong since her introduction to music – there was a lot of pressure to create another album that looked at sex, liberation and after-dark themes. Although Ray of Light does have its saucier moments; the album is more noticeable because of its sonic surprises and new maturity. Bringing in producer William Orbit meant Ray of Light effortlessly fused Pop (a Pop icon) with Electronic music. Ray of Light is the first album to truly fuse disparate genres like Trip-Hop, Pop and Dance and have it articulated by such an established and famous artist. Madonna had given birth to her first child and was embarking on a new phase in life...

Still in her thirties (just) when the album was released; it is an incredibly mature (that word keeps coming up!) record that remains her highest-rated and celebrated work. It won four Grammy Awards and has sold over 16 million copies; helped break new ground and, as you’d expect, inspire generations and change music. I was fourteen when the album came out and was still in high-school. British Dance music was a bit limited and tame – it was another year or so before Basement Jaxx came out and shook things up – and me, as a Madonna fan already, was not expecting what was to come. I think Frozen was the first song from the album that caught me. Its captivating and stylish video was a perfect accompaniment to a song we had never heard from Madonna – a complete change of pace but, still, distinctly her. By 1998, Madonna’s attachment to spirituality was making the news. We can all recall her talk of Kabbalah and how much mocking that accrued (The Simpsons even had a little dig!). In fact, it is the more spiritual and meditative moments of Ray of Light that stick out. Transcendent and beautiful songs such as Mer Girl and Shanti/Ashtangi showed Madonna in a new light and added new dimensions to her music.

More traditional and Madonna-like tracks such as Ray of Light and Nothing Really Matters sat alongside gems lik Candy Perfume Girl and The Power of Good-Bye (I am quoting from the U.S. version of the album). I was amazed at how an artist who had been in the public eye since 1982 has managed to not only sustain a career but seemingly hit a peak some sixteen years later! This article explored Ray of Light on its twentieth anniversary (earlier this year):

“The 41st edition of the awards properly reflected the female energy coursing through late 90s mainstream music. Only one out of 10 nominees for the record and album of the year categories was male-fronted, while Shania Twain, Sheryl Crow and Garbage’s Shirley Manson were all in their mid-30s; The Miseducation of Lauryn Hill ran out eventual winner in the album bracket. Madonna, snubbed in any meaningful category for so long, also finally got her dues. She took home three for Ray of Light and its title track. But, if anything, the album’s stock was modest then compared to now.

…For one, the themes tackled are more complex than your usual dance-pop smash. She reconciles her complicit role as a bratty star in a male-controlled industry (Nothing Really Matters), the breakdown of love with Lourdes’ father, Carlos Leon (Frozen), and, purportedly, her stormy marriage to Sean Penn (The Power of Good-Bye). For Anna Cafolla, the Quietus pop critic who had an Irish-Catholic upbringing, the stark closer Mer Girl, wherein Madonna lets loose the weight of witnessing her mother’s overgrown grave, hit home hardest: “Lush, haunting, one I still feel particularly close to as a woman now … It also makes me want to give my own mum a really big hug”.

IN THIS IMAGE: Madonna in a promotional shot for the album, Rebel Heart

Although post-Ray of Light Madonna albums have varied in quality – from the below-par American Life (2003), Hard Candy (2008) and MDNA (2012) to the brilliant Music (2000) and 2005’s Confessions on a Dance Floor…I am still undecided which camp to put Rebel Heart (2015) in! – it has been an interesting period for her. I love the fact she managed to follow up the critical success and enormous impact of Ray of Light with the very different Music a couple of years later. Brilliant tracks like Music and Don’t Tell Me – with William Orbit still on board – became big hits and cemented her new-period reputation for reinvention and glory. Genre-hopping, curious and endlessly experimental; Music was another critical success and proved the Queen of Pop was not going to grow older with disgrace or any sign of retreat.

PHOTO CREDIT: Carl Timpone/BFA/Rex/Shutterstock

Now, in 2018, there is a lot of talk as to whether Madonna will release another album. She has said, in recent interviews, how she is not going to perform on her sixtieth because she is enjoying semi-retirement. I am sure we will see more material from Madonna but she continues to speak her mind and enjoy she is in the public eye. Whether you are drawn to her fashion and changing styles or her feminism and political activation; her incredible music and the way she manages to change skin and remain essential and world-class – her sixtieth birthday is a good time to look back at her glorious back catalogue and discover why she remains timeless and ageless – someone with no equals and one of the most innovative talents from all of music! Let us, on the 16th, raise a glass for Madonna but, as it is her, make sure it is full of booze, in a glittery and provocative glass...and, once we have downed the contents, smash the bloody thing and…

IN THIS PHOTO: Madonna in 1987/PHOTO CREDIT: Bert Stern for Vanity Fair

DANCE the night away!

FEATURE: Sunshine After Clouds: Joni Mitchell: 1970-1976

FEATURE:

 

 

Sunshine After Clouds

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

Joni Mitchell: 1970-1976

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THIS article looks at Joni Mitchell…

and her golden run of album from 1970 through to 1976. So many artists have this chunk of albums where they hit a wonderful stride; get into the groove and find hidden inspiration. I wonder whether (that run) is because of the time in their life or what is happening around them. In the case of Joni Mitchell; she was on that ‘difficult second album’ when Clouds arrived in 1969. Mitchell’s 1968 debut, Song to a Seagull, was released with little fanfare. The American songwriter was twenty-four when the record arrived and critics were not expecting much. The reviews for the album are good – nothing that compares to the wave of praise and adoration that occurred a couple of albums in. Clouds was released the year after – Mitchell showing, as she would later in her career, how prolific she was – and gained more praise. Whereas the debut contained nothing that rivals her career-best work; Clouds contains two (at least) peaches: Chelsea Morning and Both Sides, Now. Although fans consider songs like Both Sides, Now and Chelsea Morning to be among her best work; some critics back in 1969 considered those songs a little weak – other artists have done it better elsewhere. Standouts like Roses Blue and Tin Angel make the ten-track album a curious and intriguing work.

Mitchell was coming to maturity and still trying to find her voice. The subtle expressionism of the vocals and the confident songwriting was a step up from her debut. Others felt Clouds-era Joni Mitchell was a little young to be talking about disillusionment and heartache. Other female songwriters – who wrote their material and had the same confidence – would prove that myopic and odd assumption faulty. Mitchell was an innovator and portrayed an older-and-wiser tone compared to her peers. She was sprinkling humour in and showing much-improved chops and sunshine – breaking through the clouds, as it were! Even on her sophomore disc; we were getting more than commercial pomp and traditional Folk. Mitchell explored lovers and intimacy on The Gallery; The Fiddle and the Drum talked about Vietnam and warmongering; I Think I Understand spoke of mental illness – a subject that was unusual at the time (and still is in many ways). The evolution and maturation from sensual hippy to the prosodic-styled poet – as critics and commentators noted – was taking shape. That early promise, whilst not fully-formed, was to change when Ladies of the Canyon arrived in 1970. Mitchell was starting to get outside exposure so, one feels, that attention and confidence led to more risks and boundary-pushing songs. Maybe she was a little reticent and shy on her debut; exploring new ground and ideas on Clouds – one could forgive Mitchell a break after releasing two albums in as many years!

IN THIS PHOTO: Joni Mitchell at her Laurel Canyon home in October 1970/PHOTO CREDIT: Henry Diltz/Henry Diltz/CORBIS

It is amazing to see the one-album-a-year songwriter continuing to push herself and embolden her songwriting in such a short space. Many modern songwriters are lucky if they put out one album every few years; many artists leave huge gaps and it is rare to see a popular artist putting out an album every year! One cannot argue there is simplicity and a lack of complex production: Mitchell’s music, as was then and is now, is packed with colour and nuance; plenty of texture and substance – something that does not come easily and overnight. Ladies of the Canyon (1970) does not get the same billing as Blue but is an important stepping stone and point d'appui. Written for Laurel Canyon – an area popular with artists and musicians of Los Angeles in the 1960s – it is a phenomenal achievement. Maybe the confidence and critical backing gave her the impetus to be brave and open with her music. I feel her age – she was twenty-six when the album was released – played a part. She was transcending from a woman embracing the hippie scene and embarking on the sensuality of the times to a mature and inquisitive woman who was keen to look beyond the horizons of weed, free love and community. Not that Mitchell was ever a weed-toking, freedom-for-all type of artist: matters of the heart were making a bigger impression on her music.

There were still abstract impressions and vignettes of lovers and those who she had introduced in previous songs. Mitchell was reacting from critical and public feedback but was exploring the world more, literally and creatively, in terms of subject. Ideas like the weight of celebrity – obese gods sitting on wicker chairs – and its aesthetic demands were spliced alongside observations regarding the ‘Woodstock generation’. Leitmotif and candour were a stepping stone from her traditional Folk albums to what would be a more poignant and affecting cannon. Even pre-Blue; Ladies of the Canyon was unafraid to look at hard-hitting subjects and balance wit with pathos. Mitchell was taking inspiration from her friends, Crosby (David), Stills (Stephen), Nash (Graham) & Young (Neil). Their songs, renowned for their wordless vocals and dense harmonies, were making an impact on Joni Mitchell. The title-track and The Arrangement are standouts from the opening half: Big Yellow Taxi and Woodstock, her two-most-famous tracks from her career (to that point) ensured the album ended with real bang and brilliance. Mitchell was reacting to conservationism and urban planning; the perils and ennui of her generation and the lies of the U.S. Government – these were themes that spoke to her audience and were a lot more compelling the usual mainstream fodder. It seemed, after only a couple of years, Joni Mitchell was hitting her stride. Critics agreed with that assessment.

Allmusic, in a retrospective review, provided their thoughts on Ladies of the Canyon:

“Mitchell sings more clearly and expressively than on prior albums, most strikingly so on "Woodstock," her celebration of the pivotal 1960s New York rock festival. This number, given a haunting electric piano accompaniment, is sung in a gutsy, raw, soulful manner; the selection proves amply that pop music anthems don't all have to be loud production numbers”.

The ‘golden era’ for Joni Mitchell got her into the public mindset and amazed critics. The songwriter, as you would have guessed, was eager to follow up on Ladies of the Canyon’s success and get another album out there. In fine form and starting to write the material that was natural to her, Blue (1971) is regarded as her finest-ever album. I will come to the reaction and legacy of the album but, around the time period (1970), there was a lot of change happening in her life. Mitchell decided to take a break from performance – despite her success and songs like Woodstock being played on the radio constantly – and set off on a trip around Europe. With the continental air in her lungs, ideas were starting to take shape. Her travels around Formentera provided a canvas for tracks like Carey and California. Graham Nash, a sonic and vocal inspiration for Ladies of the Canyon, provided a much more direct and lyrical muse for Blue.

The two songwriters were romantic paramours from 1968-1970 and it crashed into the waves as she was relaxing by the rocks on Formentera. Nash sent Mitchell a telegram – oddly romantic and hard to conceive in this modern time – to say the relationship was over. I often feel like Blue is the film that has never been made. One can imagine these once-enraptured lovers separated by emotional distance and geographical divides. Nash was moving on with his career whilst Mitchell was about to write her finest record. Many modern songwriters, upon learning about a breakup, would not be able to discipline themselves to write anything productive and coherent. Mitchell, instead, injected suggestions and embers of the relationship into songs like My Old Man and River. I feel the resurgence/creative shift can be explained by the role relationships, broken and good, played. James Taylor, another sweetheart of Mitchell, provided influence and respite. Transitioning from a bad breakup from Graham Nash and leaping into an intense bond with James Taylor; we can see Blue as an album of two halves. There is the nostalgia of a former love and having to adapt to life in a new milieu: balance that against the rush of fresh love and flowers blooming once more. This Flight Tonight, Blue and All I Want reference the relationship with Taylor at the time.

Blue was formulating and brewing in January of 1971; the two lovers very much as-one and, in Mitchell’s mind, destined for old age and marriage. Taylor’s mounting fame meant friction came into the relationship by March. When they broke up, a devastated Mitchell had new inspiration and, once more, had to adapt to life alone. At the time, Mitchell had personal defences and was writing in a more distant and less evocative manner. Blue is her at her most overt and the artist being unveiled and stripped naked. There was nowhere to hide and, as such, her material reflected all the pains and pleasures happening at the time. Mitchell was employing new chord sequences and alternate tunings; the rawness and revelations in the album shocked many – some felt she would not be able to follow that milestone! Critics now consider the album to be one of the finest from all of music: back then, there was amazement that such a young and relatively new artist could create something so sublime and personal. Rolling Stone, reviewing the album in 2003, had this to say:

“…And yet, despite the title song. Blue is overall the freest, brightest, most cheerfully rhythmic album Joni has yet released. But the change in mood does not mean that Joni's commitment to her own very personal naturalistic style has diminished. More than ever, Joni risks using details that might be construed as trivial in order to paint a vivid self portrait. She refuses to mask her real face behind imagery, as her fellow autobiographers James Taylor and Cat Stevens sometimes do.

In portraying herself so starkly, she has risked the ridiculous to achieve the sublime. The results though are seldom ridiculous; on Blue she has matched her popular music skills with the purity and honesty of what was once called folk music and through the blend she has given us some of the most beautiful moments in recent popular music”.

It would be understandable to think Mitchell would take a couple of years off to mend her heart and find some space. She was, as she admitted, in a new stage of life and unable to hide her scars. As a result, For the Roses was released in 1972. Court and Spark was released two years later – showing how prolific and determined Mitchell was. I prefer the sounds and range of Court and Spark. For the Roses looked at the breakup with James Taylor formed the basis for some songs but, at this point, Mitchell was adapting to life as a solo artist – in every sense – and finding fresh inspiration. The best-known song from the album, You Turn Me On, I’m a Radio, was a response to the record company’s need for a ‘radio-friendly hit’. Ironically, the song became a big hit and made a big impression on the charts! In any case, Mitchell was keen to leave herself in the open and be as connected to the listener as possible. Never a writer to hide behind pillows and metaphor; commentators noted how For the Roses brought the listener into the record and made them feel like they were less alone. Mitchell, perhaps less keen to stick to formula and expectation, was exploring new genres and patterns. Cold Blue Steel and Sweet Fire is a look at heroin addiction with Jazz semblance; Judgment of the Moon and Stars hints to Beethoven – much more than one might expect from an artist (still) being labelled ‘Folk’. Many noted the vocal phrasing and acting – bringing personality and filmic characterisation rather than merely singing songs – was beyond compare; the way she could elongate and emphasis single words…all of this impressed critics and made her music so special.

Court and Spark, whilst placed second – in the minds of most critics and fans – to Blue, remains her most commercial-successful work. It reached number-two in the U.S. and number-one in Canada; it was a top-twenty success in the U.K. and topped many critics’ end-of-year polls. Again, unlike many modern stars and peers back in the 1970s; Joni Mitchell did not find commercial success and popularity to be a negative thing. Rather than conform and provide something more akin to what was out in the world; Mitchell actually took a little time to record Court and Spark (1973 was the first year since 1968 where she had not put an album out) and was concentrating more on the material. Performances were scarcer and Mitchell was investigating and studying Jazz. Again, she was doing things her own way and keen to create an album that was truly hers but did not repeat what went before. Whereas touring might have given her the audience reaction to make an uplifted and open album; her focused writing and new-found obsession with Jazz saw a different L.P. enter the market. SLANT, when reviewing Court and Spark in 2004, paid tributes to its spirit and identity:

“…Mitchell is, with Court and Spark, represented at the peak of her talents for crafting song-stories that are simultaneously inventive, intricate, and unfailingly melodic. And while many of today’s artists have exhibited shades of such talent, not many—of either gender—have been able to match such a dizzying height. Thus, also taking into consideration its mid-‘70s California dreaminess, Court and Spark is not only the best soundtrack to a Sunday morning ever made, it’s also an essential, timeless artifact of an era when pop could be both popular and personal, and would be rewarded critically and commercially for such qualities”.

IN THIS PHOTO: Joni Mitchell in 1975/PHOTO CREDIT: Norman Seeff

The Hissing of Summer Lawns (1975) does not have the same reaction as Court and Spark but shows new inventions and wonder. Mitchell remained in inspired mode and was taking her pen in new directions. In France They Kiss on Main Street, a Jazz-Rock song about coming of age in small-town 1950s, uses Rock ‘n’ Roll as a frame; The Jungle Line uses field recordings from Africa of the Drummers of Burundi; Edith and the Kingpin is Jazz-fused and paints a picture of a gangster’s new moll arriving in his hometown. Mitchell, at this point, was bringing in stream-of-consciousness and lyrics that looked at patriarchy and women stand up to male dominance. The album looks at female stereotypes – whether modern-day moulds or the southern belle discussed in Shades of Scarlett Conquering – and the role they play in life and the home. The Hissing of the Summer Lawns’ title cut is about a woman seen as an extension of her husband’s portfolio; The Boho Dance talks of commercial compromise and surrender; Sweet Bird is a more confessional track that harks back to Mitchell’s earliest days. Some critics felt the record betrayed Mitchell’s romantic outlook and nature; it was a distinct shift and a departure from what she does best. Retrospective reviews have shown how good the album is and the bravery of the subject matter.

Pitchfork, when looking at the record in 2012, assessed how audiences and critics perceived Mitchell:

“Mitchell had never made a record that wasn't bigger than the one before and was shocked that her fans and many critics saw her new sound as an abandonment and misguided move, respectively. Reviewers chastised her for her ego. While the album went gold and brought her a Grammy nod, as her 1974 live album Miles of Aislesattests (a wonky fiasco, skip it) there were still plenty of people shouting for "Big Yellow Taxi". But that Joni didn't live here anymore. Hissing was proof. The era of Mitchell doing no wrong was over and if her audience couldn't hang, she wasn't about to do anything to reel them back in”.

If there were some shaky comments; there was still plenty of genius and brilliance to be found in the record. I feel, mind, that Joni Mitchell’s diamond regency was slightly less-gleaming by 1976. Many consider Hejira to be the last of her early-career gold. The lyrics (on the album) are denser and the songs sprawl and stretch. Jazz was playing a bigger role and travels were affecting her songwriting. The album was written during three journeys she took in late-1975/early-1976. Mitchell was going through a fractured relationship and using cocaine regularly.

Whilst songs like Coyote and Song for Sharon prove Mitchell had lost none of her spark; reviewers were noting new sides to her work:

“But if Mitchell is not always inviting, she is never complacent. With Hejira she redefines the elements of her music with as much courage as when she scrutinizes her aims and motivations. And despite the songs of love lost and plans changed, despite the urgent, often stark consciousness of mortality and the absence of comfortable solutions, Hejira is a curiously optimistic album. In “Black Crow,” Mitchell sings, “In search of love and music/ My whole life has been/ Illumination/ Corruption/ And diving, diving, diving, diving…,” her voice swooping and spiraling on the repeated word. That is what Hejira is about: it is not the answers that are most important but the search itself”.

Maybe Hejira, the transliteration from the Arabic word ‘hijira’ (journey) proved to be an important album in the sense it was Mitchell embarking down a more Jazz-orientated road; there was still the flecks and brilliance that was evident on a work like Clouds. Unlike that record, Hejira is a more complete and solid work and, despite addiction and cancelled tour, it stands the test of time. It ends a glorious run of albums that put Joni Mitchell in the mainstream and marked her as the finest songwriter in the world.

Joni Mitchell, today, is still seen in public but has not recorded an album 2007’s Shine (her nineteenth). She suffered a brain aneurysm in 2015 and has fought her way back to health. I am not sure whether we will see another album from the seventy-four-year-old songwriter. If we do not, then we have seen more than enough brilliance from her to mark down in the history books. I wanted to look at the period between 1970-1976 because it upped her game and brought her music to another level. 1969’s Clouds was a brilliant hint at what was to follow; Don Juan’s Reckless Daughter gained mixed reviews in 1977 and ended a brilliant collection of records. We have seen other brilliant albums from her since then (including 1994’s Turbulent Indigo) but she had never hit the giddy heights of that early period…I doubt whether any other songwriter has or will we see anything like it. There are other bands/artists that have distinct periods where they can do no wrong: maybe a faultless run of albums that can be attributed to commercial success, personal circumstances and newfound creative outlets. In the case of Joni Mitchell; she moved from a slightly reserved songwriter to someone willing to reflect the pains of relationships and depression alongside fictional motifs and impressionistic sketches.

PHOTO CREDIT: New York Magazine

Her songwriting, during that time, explored politics and gender issues; politics and corruption – she also looked at her generation and her role in society. The boost she got from great reviews and certain inspirations – lovers and close associates – created that explosion and led to a purple patch. I feel the six-or-so years where Joni Mitchell ruled music should act as an example to all songwriters regarding form, inspiration and evolution. Mitchell was not expected to create the albums she did follow Clouds – many felt she was promising but could not predict where she was headed. However you explain that golden era – maybe maturity and greater confidence played their part – you cannot argue it is a fascinating and beautiful time. The fact she barely dropped a step over the course of those six albums is amazing. It is something you only really see from the real legends of music – The Beatles and Bob Dylan among them. Their story is for another day. For now, I wanted to put Joni Mitchel under the spotlight and focus on a songwriter who still makes a huge impression on artists. She has released many wonderful and enduring albums but, for my money, she was at her very finest…

BETWEEN 1970 and 1976.

INTERVIEW: Leila Lopes

INTERVIEW:

Leila Lopes

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THIS is the first time…

I have interviewed a businesswoman on this site. I have been speaking with Leila Lopes about her record label, The Uprise, and why she set it up; the artists on the label we need to look out for – I ask whether more attention is being paid to female business owners.

Lopes talks about her work in Angola and transitioning from beauty pageants to music; what she hopes to achieve before the end of this year; what advice she would give to anyone wishing to follow in her footsteps; where the Uprise label is headed – she picks a classic tune to end the interview with.

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

Well. My name is Leila Lopes and I would say I’m a humanitarian/entrepreneur that also has a love and deep passion for music!

The Uprise is your record label. What inspired you to set it up?

The Uprise came about coincidentally. I have always loved Funk music. In Angola, we are heavily influenced by Brazil and Portugal - and Baile Funk is huge there. One day, about three years ago, I started playing these Funk songs for my husband and he absolutely loved it - but he had never heard that sound before and he is a big music lover also.

So, the idea occurred to me to bring those same beats and rhythms and mix them with more conventional music and see if it sounds great. So, we now started the long process of trying to discover great artists who could produce the specific sound and also perform. It took us over two years of looking and researching but, finally, we found the artists and producers.

IN THIS PHOTO: Mikespro

What is the ethos of the label, would you say? Which new signings should we keep an eye out for?

Our ethos is to connect various cultures through music. It’s the universal language. We are mixing Brazil with Europe with America and Africa to create one sound. That’s what we want for the world: to be brought closer together

We have Grace Rhodes and Andi Mcernest as artists as well as Mikespro and Zeeko as our producers. We also have a French artist named Wizzy. They are all very good.

As someone who has competed in beauty pageants; have you faced any judgements and doubts from those in the industry?!

Of course. There are always judges and doubters. People want you to ‘Stay in your lane’; be a beauty queen and that’s it. But, I did nothing to achieve beauty. It’s superficial. I actually worked super-hard on my other interests and I’m trying to do so much more for people and humanity than just being a beauty queen.

You are an Angolan native. How did you get into business and music? Was there a moment when you decided to move into the industry?

Music, I’ve always been into. For as long as I can remember. Business, I got into because of the various opportunities that presented themselves. For instance; I own a company that produces diapers and sanitary pads in Angola. We take the profits from the sales and give them to charity. These are the types of things I love to do for the people.

Where is the label heading? What are the ambitions behind The Uprise?

We are headed in a global direction! We want this music heard all over the world because that’s what this music is. It incorporates elements of music from so many different cultures.

Do you think there is still little awareness about female business owners and those creating huge innovations?

I think there is but day by day it is definitely increasing. The world is finally taking note of the contributions and, honestly, it’s about time.

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

We just hope to get the music heard and for people to give it a chance. It’s very unique but sounds so good. There is so much of the same stuff out there: we need something new…and that’s The Uprise.

Have you got a favourite memory from your career so far – the one that sticks in the mind?

I would say it was the day my products were launched in Angola. That was a great day; knowing how it would help people.

What advice would you give to those coming through who want to follow in your footsteps?

I would say belief in yourself and what you’re doing is the most important thing. People will doubt. People will judge. But, if you believe wholeheartedly in what you are trying to do, go for it. You can never regret it. You will only regret the things you didn’t try to do.

IN THIS PHOTO: Grace Rhodes/PHOTO CREDIT: Grace Rhodes

Are there any new artists you recommend we check out?

Yes. My artists! Grace Rhodes and Andi Mcernest.

IN THIS PHOTO: Andi Mcernest

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

Not much time, honestly. Those are twenty-four-hour-a-day kind of jobs. But, fortunately, I don’t consider it work. It’s passion. So, I’m able to do it and still enjoy myself.

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).

Not any of our songs?! (Laughs). Ok. I’Il go with To Zion by Lauren Hill (ft. Carlos Santana). One of my favorites

INTERVIEW: Southbank Crows

INTERVIEW:

Southbank Crows

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THE first interview of this Sunday…

is with Southbank Crows. I have been talking with the band about their E.P., The Wild Ones (released last year), and whether we will see more material coming; how the guys found one another and started playing – the importance of London and whether the city has negative and positive effects.

I discover what gigs are coming up for the band and which new artists they recommend; whether there is any downtime for them; what advice they would offer to upcoming artists – the boys end the interview by selecting a song each.

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

Hello, there! The week has been good thank you. Busy as always. Ha. Few rehearsals for upcoming shows - how’s yours been?

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

We are Southbank Crows; an Alternative-Rock-Americana band from South London made up of Will (Guitar, Vox); Patrick McCann (Piano, Vox); Taker Hofstra (Bass; Vocals) and Ryan Fielder (Drums).

How did Southbank Crows get together? When did you all meet?

Well. Will met Patrick at an audition for a band called Tiny Voices. We started writing music together and searching for a rhythm section. Once we found Taker and Ryan the music just fell into place: everyone understood what our vision was and helped create it bigger and better than we thought possible!

The Wild Ones E.P. was released last year. What sort of themes and ideas inspired the music?

It was inspired by some time I spent in Florida. I moved out there for a few years after my last band split; did all the life stuff you know, like, travel around, meet some cool people; get your heart broken. Ha. You know…the usual stuff. Haha.

How does it differ, in tone and themes, to 2016’s Southbank Crows?

I guess, inspiration-wise they have some similar themes but, songwriting-wise, we improved as a unit. The Southbank Crows self-titled E.P. was recorded without a full band as we were still looking for the right team. So, as far as Wild Ones is concerned, we sound more like a band with a more honed in sound.

Is there going to be more material coming down the lines? Are you guys working on new material?

We have been working on plans to put a full-length together and it’s mostly fully-written already but haven’t decided on when to do it and which producer to use – and, of course, where we will find some money. Ha.

How important are London and its mix regarding your music? What is it like for a young band in the capital?

London, I have found is one of the hardest places to be a musician: every single person is in a band or so it seems and everyone else is a session player wanting money!

My last band was based in Brighton and we found it a lot easier there to make a mark. Friends of mine in other cities around the U.K. have found it easier because they live in smaller towns that haven’t decided to shut all of their venues. Oh…and promoters aren’t trying to rip you off like they do in London.

Which artists are you influenced by? Who are the musicians who have made the biggest impact on the band?

I would say the biggest impact on our songwriting comes from acts like Lucero, Counting Crows; Florida Georgie Line, Stereophonics; Deaf Havana and Lower Than Atlantis.

Do you think there will be touring dates? Can we catch you play?

We do not have any tour dates booked in as of yet but we have got the following shows coming up:

The Big Meat B.B.Q. festival in Farnham on 25th August at 4 P.M.

Hammerdown at Bar 42 in Worthing on 26th August at 3 P.M.

Penn Meadow Summer Festival in High Wycombe on the 26th August at 8 P.M.

Hotel Pelirocco with the Stone Jets in Brighton on 20th September (which starts) at 7 P.M.

Is the stage the place you all feel happiest? How do you feel performing to a crowd and hearing that reaction?

It is, 100%, my favourite place to be. I am always writing things in regards to not finding your mark and where feels like home - which I have now realised feels like home! In the van going to shows is where we all love to be: that feeling when you finish playing of just wanting to play again. Ha. I do love it. We all do,

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

I think, for this band, our first U.K. tour and we have had some great, very busy festival appearances and they always leave you gleaming and full of joy!

I have so many great memories. I mean, one that does stick in my mind was sitting in a garden all night with the lads after a great show in Southport. We just stayed up all night having drinks and talking about how much we love doing this.

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

I would love to tour with Foo Fighters, Lucero or Blink-182. Although, we will take any support slot. Haha.

McDonald’s cheeseburgers, kiwi cider; any beer that isn’t piss-water and money delivered in swag bags by racoons playing cops and robbers on an O Gauge train running through the dressing room.

What advice would you give to artists coming through?

Honestly; there is not a right way as such. Treat all bands and promotors you cross with respect and just be good people. You really have to just ‘love what you do and live for what you love’. I know that sounds cheesy but I really feel it’s so true. For anyone to respect you they have to see you live it, bleed it and love it while getting my financial gain or recognition.

Are there any new artists you recommend we check out?

Hmm; that’s a tough one. I mean, Boston Manor aren’t that new but they are starting to make a good name for themselves - and I remember them from years ago as a support act for my last band.

Kill the Witness. These boys are from Kingston and we just love playing shows with them. Just great guys and good tunes!

Then, some old-timers who have been going a long time but you might not know. Lucero, I use them as an influence in regards more than writing. They were voted the hardest-working band; they have consistently played something like 150-200 shows a year for a decade!

PHOTO CREDIT: Michael Foster/ALBUM DESIGN: Matthew Cole

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

None of us gets much downtime because we all have jobs too; so it can sometimes be a real killer effectively working two jobs. Ha. Will makes beer for a place called Surrey Hills Brewery; Patrick teaches piano; Taker takes care of, like, a million dogs a day; Ryan is a manager at a trampoline park.

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).

Lucero - What Are You Willing to Lose

Florida Georgia Line - Hell Raisin’ Heat of the Summer

Deaf Havana - Everybody’s Dancing and I Want to Die

Cheap Girls - Cored to Empty

____________

Follow Southbank Crows

Official:

https://www.southbankcrows.co.uk/

Facebook:

https://www.facebook.com/southbankcrows/

Twitter:

https://twitter.com/southbankcrows

Instagram:

https://www.instagram.com/southbankcrows/

YouTube:

https://www.youtube.com/channel/UCICPeAlO-gxwfxMl5Mfxk0g

Spotify:

https://open.spotify.com/artist/4GJIBPW5m94U0AfYgrzevN

SoundCloud:

https://soundcloud.com/southbankcrows

Bandcamp:

https://southbankcrows.bandcamp.com/

TRACK REVIEW: Martha Bean - Slippers to a Wedding

TRACK REVIEW:

 

Martha Bean

Slippers to a Wedding

9.6/10

The track, Slippers to a Wedding, is available via:

https://www.youtube.com/watch?v=KBOy1JzjmYo

GENRES:

Acoustic; Folk

ORIGIN:

Leicester, U.K.

RELEASE DATE:

27th July, 2018

_________

WHEN I think about…

Martha Bean and her music, I am compelled to look at a few different things. I will talk about music self-produced and homemade; artists who get acclaim and stand aside from the pack; acoustic influences and modern artists who invoke the spirit of the greats; songs that make you feel comforted and give you guidance; artists who deserve to be big news and make changes in the industry. There are a lot of artists who record at home and get that very natural and intimate sound. I do not mind those who record in a studio but I always note something tender and evocative when you hear that homemade music. Martha Bean is an artist I have featured before and, every time I witness something new from her, I get the sense of an artist who wants to bring you into her world. A lot of modern artists write material that has a personal edge but it is harder to relate and connect when you note the studio-made nature. There is something lacking and synthetic coming from the speakers. Another reason why artists are doing the D.I.Y. route is that it is cheaper and easier. Studio rates are high and it can be difficult bonding with an unknown team/producers. It is the warmth and closeness I can feel from those home-produced recordings that the artist wants to bring you into their world and into their space. You get more involved with the music and the effect is a lot more physical. I hope I am explaining myself but, what I mean is, artists who record quite honest and uncomplicated music -a few elements but none of the polish of the studio – can make the notes and lyrics really strike. Polished production and the gadgetry of the studio can elevate music and bring new life to it but many of us want to hear new music that sounds close to a live recording. Bean, on her latest track, provides huge grace and passion; there is a lot at work and you get a real sense of who she is and what she is about.

I am not saying there is a big distinction between studio sounds and home recordings but there is a lot to recommend about the D.I.Y. method. Martha Bean has self-released her music this time around and seems to be taking a more independent route. I really love artists that take charge and have the confidence to take care of their own music. One of the reasons why I wanted to look at the independent route is the amount of creative control you have. There have been some big artists who have pulled away from labels and the demands of the studios and decided to record in their own way. Many new artists, when they get a certain amount of respect and attention, feel the need to get into the big studios and sign with a label. Others take a different approach and take that risk. In the case of Martha Bean; she has a lot of kudos – I shall get onto that later – and feels the best way to get her music to the next level is, in a sense, stripping it back. She has produced a song that has spoken to many and seems to resonate. Slippers to a Wedding is one of those moments that you drink in and are compelled to come back to time and time again. I have heard a lot of songs this year but few of them have managed to make a big an impact as Martha Bean. I will move onto a new topic soon but, before I get there, I will tip to social media and photos. This is a subject I look at now and then but I feel the visual side of music is quite important. Bean’s music is fantastic and she has gained a lot of respect from the media. The sounds are connecting but I am intrigued, too, by the aesthetic and visual side. She has some great photos out there but her musical dynamic lends to a rather captivating and eye-catching photoshoot. There need not be that many new snaps: a few that show her in different settings and add an extra dynamic to her portfolio. It is hard getting a lot of photos together – cost and the logistics – but Martha Bean is an artist who will be gracing magazine covers and interview pages for years to come.

Let me move on to another side of music and talk about respect. Many artists get into a position where they have the critical ear and the promise to go all the way. I always look at other reviews and how people take to certain musicians. What interests me is artists who tend to tick all the boxes. BBC Radio 6 Music have played Bean’s music and her album, When Shadows Return to the Sea, received four-star reviews. A lot of publications have hailed her as a voice to watch and a genuine talent. It is hard, at any stage of music, to get that sort of attention and praise. It is still early days for the songwriter and, already, she has won the ear of some big publications. It is impressive seeing artists get acclaim and it is something they can wear with pride. So many artists quit and retreat when the going gets tough; many take years to get great reviews and make it onto big radio stations. Martha Bean has worked hard but, more than anything, there is a natural voice and talent that takes the breath and stands aside. Distinguishing yourself from the crowd can be really difficult to do in this age. There are so many sound-alike artists and many are following others. It is difficult coming up with new sounds because there is less chance for mobility in the market. We have heard so much music and coming up with something original can be really tough. Bean has some notable influences but she puts her own voice and D.N.A. onto the page. She does not, like many, stay too close to their idols and provides something fresh and inspiring. One of the reasons why we often skip past artists and get a little jaded is because of the similar sounds. So many remind you of someone else – it is understandable they get overlooked and passed by. Modern music is a really tough industry and the competition is fierce.

Martha Bean has been plugging and playing for a long time but she has done her homework. She blends classic acoustic sounds with legendary Folk; puts in her own values and stirs it around. The critics have reacted to her fantastic music and many compare (Bean) to Nick Drake. That might sound like a bleak comparison – many are not saying she is grave and depressive. The Drake comparisons come when you hear the voice and lyrics. The former that can mix feather-light with something affected and shadowed; the latter that portrays poetic visuals and incredible language. Bean mixes personal sentiments with looks at the wider world. Her vocals are astonishing and there is so much range to be found. The comparisons the critics have made provide an opportunity for Bean to strike and grow. I have been looking around for artists who have the stamina and talent to endure for years and compel the generations. I am hearing a lot of great, acoustic-led artists who remind me of the greats. Bean has elements of Nick Drake but there are elements of Laura Veirs and Jeff Buckley. It is a fantastic and heady brew that gets into the blood and infuses the soul. I have been worried about modern music and how little focus is paid to artists away from Pop. You get all the spotlight and fuss regarding Pop mainstream and the big bands. How often do we look at music websites and the radio and find those honest and acoustic artists getting celebration?! They may perform softer, less dramatic sounds but that does not mean they are worth less. If anything, they are deeper and more substantial. Maybe we still look at the glamour and commercial side of music more than anything. I hope the tide turns and we start to place emphasis on solid songwriting and promise rather than fashion and familiarity. Many media sources have heaped praise on Martha Bean – I wonder how long before her music gets to a worldwide audience and she ascends to the heady steps of the mainstream.

I will come to another subject soon but I want to remain on this subject for a bit. Martha Bean does not limit her scope and subject matter. We all get into the position where we think artists of s certain sound will be limited and predictable. The acoustic-based artists, to them, are a little worn and there is not much variation. I think we often pigeonhole musicians and do not really listen to music as hard as we should. Listen to someone like Martha Bean and what she is singing about. I will investigate her latest single but, looking back, her songs have ranged from razor-sharp and witty to enigmatic and sobering. You get personal weight and clout alongside something light, humorous and open. That sort of width and range means the listener is treated to the full spectrum of her talent. It is important to be diverse and not limit yourself to the same subjects. Martha Bean takes influence from the likes of Radiohead and Debussy. She has been in the industry for a while but has not sold out and taken an easy route. She writes music that is true to her and, in turn, will always sound natural and pure. You get artists who are following trends and trying to please the critics. Bean has won the critical heart and is writing from a very genuine place. I have been revisiting strong female artists like Joni Mitchell and seeing how they managed to make such an impression on music. In fact, later today I will look at artists like Mitchell and how they created such a run of fantastic albums – look at her work post-Clouds (1969) and there is some of the finest music of her generation. I am keen to focus on great female artists but, more than anything, those who have something real to say and get under the skin. Consistency and longevity are not properties easy to perfect and sustain in today’s climate. Artists often change their sounds and adapt in order to stay relevant and find new light. If you are lucky enough to find a style that is solid and flexible from the off, that should not be overlooked.

My circumstances have changed over the past day or two. Yesterday, when writing a review, I was in the position of having a flat sorted in Manchester and, I thought, my life sorted. Not that I am floundering in the wilderness: it would have been a relief to be in a city where I want to live and the fact I do not have to search around too much. Things have changed dramatically and, after some lesson-teaching fraud, I have to look all over again. I am going back up to Manchester in a week or two but it is frustrating that things have changed and slipped so quickly. Music, yesterday, gave me the guidance needed to see through my plans and realise the choice I am making is the right one. Today, mind, I am looking for music that provides another round and encouragement and provides that support. It is difficult relocating – especially when you live far away – and very expensive too. That is all scary and challenging but a sense of resolve and focus needs to come in. Music is an important tool and aid when it comes to facing these hurdles. I am embarking on new challenges and need sounds that can keep me safe and open my eyes. Martha Bean’s latest cut has given me the relaxation and soothe I need to clear the head; the fascination and colour to ensure this review is as full as possible; a sense she is going to go a long way – which means I will spend time looking around current music and anyone who can match her sense of songwriting skill and passion. There is a long way to go for Martha Bean but she has laid down her marker and gained that critical heart. What interests me about her is the instant quality and beauty you get. I have not explored the nature of the voice and what a fantastic example can do to the listener. Martha Bean has one of those voices that conveys and carries so many different emotions.

You get the sense the songwriter, as a girl, searching through crates and record shops curiously looking at album covers and the delicious treat inside. I know music played a big part of her early life and she grew up around a variety of artists. Classical artists were part of the agenda; 1990s bands (still going today) like Radiohead were a big part – Bean also looked at Folk artists and legends who have pushed the industry forward. You listen to her voice and wonder where it comes from. Maybe there are flecks of other artists but you never get a big sense of anyone else coming to the fore. A powerful and potent voice has the ability to elevate music and ensure it lodges in the brain. I feel the voice is the most powerful part of the musical process. Great lyrics and music are important but the vocal element seems to have a lot more depth and sentient ability. It can touch you in ways composition can’t; it can say more than the words themselves and has the potential to change lives. Bean is an artist who has a rich and detailed voice that strikes hard and stands out from her contemporaries. I think she has the ammunition to remain a long time in the industry and transcend to the big leagues. She is masterful when it comes to crafting brilliant tracks and letting that incredible, gorgeous voice swim in the blood. I shall move on to look at Slippers to a Wedding and why I think it is a brilliant song. The songwriter is wetting the senses and asking many to ask what comes next for her. Each new release she brings into the world lingers in the mind and doesn’t fade from view – like so many of today’s songs do. I am a big fan of hers and am always amazed at what she can bring to music. Let’s get down to business and have a look at Martha Bean’s current single.

You get these songs that are perfect without visuals: some songs sound better, oddly, with visuals and little emphasis on the sound. Martha Bean, with Slippers to a Wedding, allows you to get two different impressions. The audio alone lets you cast one impression and viewpoint. Look at the video and you get another interpretation. Many artists feel music videos direct the listener too firmly in one direction and do not allow for personal interpretation. What we get on Bean’s latest single is a perfect accompaniment and companion to the song. The video brilliantly conveys the scenes and ideas inherent in the song. The opening moments of Slippers to a Wedding provide such beauty and imagination. The acoustic notes skip and ripple like a pond. You get impressions of a riparian vista or a casual stroll in the countryside. You can, fairly, hear elements of Nick Drake and you are instantly involved in the song. The playing is gorgeous and so much gold and brilliance arrives without a word being sung. When Bean starts to sing; the lyrics get the mind working. She talks about a newsreader falling asleep on the air whilst the world is listening – the weather report comes but he is dreaming. The video shows a moustached man with an orange jacket that puts you in mind of the 1970s/1980s. It is an illuminating and eye-catching way of presenting the lyrics and adding light to the story. I wonder if there is a literal meaning to the words. The news report and weather can mean important announcements in life. The ‘news’ might be guidance where that person needs to go in life; the ‘weather’, the predictions and how things will fare in the future. Rather than be awake and attuned to what is happening and where things will go; the heroine is looking at herself and a certain malaise. Perhaps she is using the newscaster as a metaphor for personal doubts and changing times. Rather than overtly open her soul; you get a parallel story of a snoozing televisual personality. Bean lets her voice weave and flies like a bird.

The words are given so much gravitas and personality. Each line and sentiment is projected with maximum acuity and resonance. Bean is able to go from crystal-like to deeper and more gravelled. Look at the video and we see a frog in a crown; avoiding a raincloud and surrounded by trippy forests and a sense of dreaming – nothing quite real and everything muddled. By that, I felt the heroine was talking about needing a secret kiss (when the frog kisses the princess and becomes real again – changing the gender to fit the story). Maybe our heroine is searching for a sense of clarity and someone who will be able to keep her safe. She says, in the song, we lose perspective and turn up to a wedding in slippers – again, maybe that is a sleepless mind getting tangled or an interpretation of someone being in the wrong place at the wrong time. I get the sense (the heroine) is entering a grand and regal world in her own clothes and life. Maybe things are not fitting together and where she is, emotionally, is different from the world around her – perhaps I am misinterpretation and quick to conclude. The songwriter, in the next scene, is locked out of the house as it starts to snow. She has seven hours to kill – a very precise estimation – and builds a fire. Maybe her knight in shining armour will arrive. I was looking at that period of time and got to thinking about employment and the ‘normal day’. It is a bit shorter than the working day but, again, being somewhere that is not ideal and making the best of it. Look back at the wedding paradigm and I sense a woman who is in an industry promoting glitz and a certain finery – she is more humble and homely but has so much potential and talent. Go back forward to the locked-out scene and you feel her yearning for a hero to whisk her away. I know Bean is in a happy relationship so, maybe, this desire is for a bigger and better life. She says, at the end, we often feel life slip away and lose its grasp when not looking. One of the great things about Slippers to a Wedding is how you get a very direct and emotional delivery but some oblique tapestry. We start with one person (newscaster) and then move to the heroine herself. I have given my interpretation but one can judge what the song is about. The composition-and-vocal unity is brilliant and so beguiling. You need a few spins for everything to seep in and register. A brilliant song that keeps you arrested, interested and invested; it is the strongest statement Martha Bean has created. This means, going forward, many will look to see what comes next – might we get more material that feels as good as this?!

The Leicester-based artist has spoken about new material and where she heads from here. I think, as she says, it is more likely an E.P. (rather than an album) will come along. I do not get to review many artists from that side of the country. It is good to get away from London and talk about somewhere that does not get a lot of attention. Bean has a great band behind her – including Joel Evans and John Bean. The combination of the players and her leading hand means you have a musician who has the potential to go wherever she pleases. She has that great backing and it means the live show is a lot fuller and more appealing. Many solo artists play acoustic and that only provides so much richness and energy. Bean can provide a rounded and varied live set that brings in new faces and brings her music to life. I have talked about her home-made nature and how her songs bring you into a cosy place. Bean is an artist who can balance close and still with the impassioned and grand. There is a lot of love coming from local BBC sources and the media is reacting to her latest effort. I can see Bean embarking on a tour of the U.K. There are some great acoustic artists out there who are getting tongues wagging. As opposed bands and some solo artists; people like Martha Bean have the malleability to play in churches/cathedrals and conventional venues. I am keen to see her play and know she would prove a very popular live fixture across the world. She has played around the U.K. but I feel there are audiences waiting in America and Australia. Maybe the financial side of things will limit touring ambitions but Bean should definitely look ahead. There are a lot of great musicians out there and I hope each of them gets the chance to go a very long way.

I am growing a little weary of the mainstream and what is being heralded as the best. Too many artists who do not ‘fit’ into what is deemed popular and on-trend are getting overlooked. Investigate and listen to someone like Martha Bean and you get a lot more wonder and talent. I will end the review soon but I want to end by rounding things off and hinting where Bean can go. Slippers to a Wedding, and its video, seem to encapsulate all the sides of the young songwriter. There are those lyrics that make you smile and have variation. At once, you might feel a little confused and uncomfortable (in a good way); you might then find something heart-warming and cute; something funny and earnest. It is a heady and eclectic song that definitely gets you coming back. The animated video (by Adam Aiken) reminds me of classic cartoons and something vintage. Listen to the lyrics of the song and you sense someone wrestling with their life and looking for a sense of purpose. The track looks at fictional figures but you always sense there is a lot of personal impetus. Bean has a great way with words and bringing in enticing characters and visions. The way she delivers her messages gets the heart skipping and makes you stay with her. I have heard very few songwriters who have the same skillset and sound as her. She brilliantly weaves together scenes and ideas without being too wordy; never too full-on with her vocals but always putting in her everything. I know there will be more material coming down the line and many more ears will turn her way. Listen to Slippers to a Wedding and look back at what Bean has created. The songwriter is getting better and more ambitious with every song she brings out. I am glad I have returned to her shores and uncovered a song that shows what an immense talent…

SHE truly is.

___________

Follow Martha Bean

Official:

http://www.marthabean.com/

Twitter:

https://twitter.com/marthabean

Facebook:

https://www.facebook.com/marthabeanmusic

Instagram:

https://www.instagram.com/marthabeanmusic/

SoundCloud:

https://soundcloud.com/marthabeanmusic

Spotify:

https://open.spotify.com/artist/5HQ3tb2Jy2vdGHrjCdQWeC

YouTube:

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

INTERVIEW: Lunacre

INTERVIEW:

Lunacre

___________

MY last piece of the day…

is a chat with the superb Lunacre. I have been speaking with the band about their latest single, Love Being Lost, and what it is all about. They chat about their forthcoming E.P., Pearl Tabloid, and what it was like putting it together; which new acts we should keep an ear out for – they tell me how the band found one another.

I was curious to know whether any tour dates were coming up; what we might expect from a typical Lunacre set; which older artists they take guidance from; whether they get chance to chill away from music – they select some songs to end the interview with.

____________

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

Jacob: I'm great, thanks. Finishing a big project this week is giving me 'last day of school' feelings.

JP: HECTIC, but nice - it's not so hot now.

Ben: Fab, thanks. Went to Cornwall for the weekend. 

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

Jacob: I'm Jacob; I play bass in Lunacre and, when I'm not doing that, I'm working on a PhD in Musical Instrument Design.

JP: I'm JP and I play drums and do singing bits (and like to experiment in the studio).

Ben: I’m Ben - lead singer of the band, also the main songwriter and producer.

How are you taking to the heat at the moment? Is it encouraging songwriting and creativity? 

Jacob: I feel like my brain has been gently melting, but in quite a nice way. It's encouraged creativity in the kitchen: I now know several new recipes with watermelon in.

Love Being Lost is your new single. What are the origins behind the song?

Ben: Love Being Lost came just after a bit of a ‘writers block’, when the frustration of not being able to commit any ideas into song ideas peaked and became the lyrical gateway into the track. The chorus came first; the lyric and melody came into my head and after figuring out the chords and baseline…the rest of the track unfolded.

It was one of those great times when the musical answers seemed really obvious and the lyrics came really clearly for the most part. The first demo had a typically overlong middle 8 section before the final chorus, which our guitarist Scott put under the knife to make the whole song more concise…anyway…really excited that it's out in the world now.

Pearl Tabloid, your E.P., is completed. When might we see that? What sort of themes inspired the music?

Soon. We’re reworking the live set at the moment and, once we’re a little further along, we’ll release the next single and start doing shows. This E.P. tracks quite a personal journey and Love Being Lost is both the first single and the opening track. There are some specific things I wrote about in the lyrics, but I’m hoping people can find their own meaning in the songs.

Last week, a friend told me what he thought Love Being Lost was about: it wasn’t exactly what I’d been feeling when I wrote it, but the overall sentiment was very close. I loved that the lyric was abstract enough that it left room for interpretation. 

Was it fun putting the E.P. together? Did you write a lot in the studio – or was most of it realised before coming in?

We took our time with this E.P. Some of the songs have been around since we started the band and have almost, but not quite, made it onto one of our first two E.P.s. Some of the tracks are much more recent, having only come about in the last couple of months. The result of this is that it has contributions from both current and past band members.

Our first guitarist, Sam, has a big instrumental moment on one of the tracks; a lot of the work our friend Benjee put in before he took a break to go away and study Sound Design has made it into the E.P. - as well as obviously featuring a lot of work from the four current band members. 

How did Lunacre find one another? Did you all know each other from way back?

Jacob: Most of us go way back. Me, Ben and Sam, who's not an active member in the band since he moved to Berlin, used to play music together at sixth-form. Lunacre started when we all finished university and got the old band back together. That was when JP joined. We've been playing together as Lunacre for nearly five years now.

Ben: I met Scott at music college in Leeds and Benjee through some friends in Bristol. Jacob and I met in a music lesson at school and did a pirate-themed cover of Stayin’ Alive with banjos in it.

In terms of older music; who do you count as influences and idols?

Ben: Radiohead, Blur.

Jacob: Colin Greenwood is probably the biggest musical influence for me as a bassist. Maybe this is less related to what we do in Lunacre but I'm a massive fanboy for Jarvis Cocker and Björk.

JP: I was always into big sounds and lush productions. The early Pink Floyd records were a huge inspiration for me. More modern stuff, I guess, was most things Ninja Tune and Warp Recordings were putting out in the mid-noughties.

Do you think there will be tour dates? When can we catch you play?

Ben: A.S.A.P. - probably autumn.

In terms of excitement and buzz; what is it like being up on stage? What might we expect from a Lunacre set?

I love playing the songs live. It’s such a direct way of communicating them to people and it’s very exciting because it can be slightly different every time. The songs take on a different life at a gig.

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

Jacob: Our launch party gig for our last E.P. was amazing. We had put so much time into the E.P. itself as well as making sure the gig would be a great event. It was such a good rush of relief and gratitude when loads of people came to support.

Ben: Some of my fondest memories are of when we first started jamming together and establishing the sound and vision for Lunacre. It was a time of great musical and personal development and I feel like we made some really strong bonds and had great fun.

JP: Probably playing some awful Nickelback tune on the guitar as a kid.

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

Jacob: I'd love to play a show with Mac DeMarco. He seems like a fun guy and his recent album is full of beautiful songs.

For the rider: ice-cold kombucha tea, stilton mini cheddars and seasons 1-9 of The Simpsons on the T.V.

JP: It'd have to be someone with an outrageous line-up. Like Parliament Funkadelic, maybe? Tequila on the rider for me - always a catalyst for fun.

Ben: I think, at our last gig, JP put tuna mayo on the rider…we never got it. I’d love to support Björk and I’d ask for soya chocolate milk on the rider.

What advice would you give to new artists coming through? 

JP: Love what you do and don't hesitate to keep putting yourself out there!

IN THIS PHOTO: Jack Watts

Are there any new artists you recommend we check out?

Ben: Check out Jack Watts (Horrorscope).

Jacob: The Fish Police and Too Hot for Candy are two bands who have been supported by the charity Heart n Soul, who provide opportunities for young people with learning disabilities to get involved in music and the arts.

JP: Really loving a guy called Mark Hill at the moment. Also, Forest Swords' album from a year or so ago is still getting a lot of airtime for me.

IN THIS PHOTO: Forest Swords/PHOTO CREDIT: Paul Phung for DJ-Kick

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

I like to leave the country and turn off my phone – but, honestly, working in music comes with its calming moments so I don't always feel a stressful build-up behind back-to-back workdays!

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).

Jacob: It's got to be Cactus by the Fish Police. It's available from their Bandcamp.

JP: I'd love for you to play Pink Floyd – Breathe (In the Air)  x

Ben: Please play All Saints - Pure Shores

____________

Follow Lunacre

Official:

https://www.lunacre.com/

Facebook:

https://www.facebook.com/LNACR

Twitter:

https://twitter.com/LunacreHQ

Instagram:

https://www.instagram.com/lncr_nstgrm/

YouTube:

https://www.youtube.com/channel/UC0TwQ0fUo4ECveDDQkt4PAQ

Spotify:

https://open.spotify.com/artist/0kPtIywKtBqytsowqAg5hi?si=3dtOielcRD-6R_oHqI5M5A

SoundCloud:

https://soundcloud.com/lunacre

FEATURE: Information Overload! Do Artists Need to Be SO Revealing on Social Media?!

FEATURE:

 

 

Information Overload!

PHOTO CREDIT: Unsplash 

Do Artists Need to Be SO Revealing on Social Media?!

__________

EVERY artist out there…

PHOTO CREDIT: Getty Images

is entitled to connect with their fans and share whatever they want. I do wonder whether there is this essential need to reveal every facet of their waking lives! It may seem like old news but there is something ambiguous about ‘social media’. That desire to be connected and conversational is resulting in a mass of information put our way. I do not follow that many people but I struggle to keep up with everything that is put out. I can look at Twitter, let’s say, and get a grip on what is happening. I turn my head and a stream of new tweets comes through. A band might post a GIF or update; they will then share someone else’s status and, before you know it, there is a flood of stuff in front of you. If you ever sleep – I occasionally do – then you wake up and have missed out on a lot of stuff. You will look at a timeline or whatever and search around for anything relevant and interesting. It is not only musicians culpable of sharing too much: all of us get into a habit of giving too much away and passing on every inane and random piece of information to followers. I have lost so many contacts because I get fed up with all the posts and retweets – Facebook statuses, stupid photos and pointless updates. The introduction and rise of Instagram have made this even worse.

Once was a time only had Facebook and Twitter infiltrating our brains. Now, there is a slew of Instagram updates and photos for everyone to see. I am all for artists being open and letting us into their lives but I wonder how much ‘useful’ and relevant information we are receiving. I do love artists like Florence + the Machine but so many big artists are sharing every thought and reflection with us! New artists are the same. They are less reliant on commercial gain and record label pressures but they are posting out constant updates and news stories; photos from gigs and thoughts that come into their head. I guess we are all guilty of too much sharing: I have been known to spend a lot of time posting articles and realise it must be a bit full-on for many. I get a bit fed up with the unregulated and over-the-top nature of social media. I do not like unfollowing artists or people in general but get a little weary when they post endless photos, updates and retweet endlessly. Not only is it impossible to keep up with it all but it sort of turns into harassment, albeit it quite inoffensive, after a time. You never really know if you have missed something important or something monumental has passed you by. The modern artist, mainstream or otherwise, need to keep their fans updated – I wonder how far they need to go.

“You have to remember that nothing remains the same.” -Pattie Boyd 📷 @alexilubomirski

A post shared by Taylor Swift (@taylorswift) on Jul 10, 2018 at 9:05am PDT

You look at a typical mainstream artist and there might be a couple of dozen updates/tweets on an average day. There might be some random Instagram photos and they retweet praise and mentions; there are some off-the-cuff thoughts and one or two things that might be worthy. I wonder whether the modern interpretation of being a musician has altered the way social media is used. This article shows how social media has changed and ways musicians can utilise it:

“Social media has played a massive role in rekindling this tribal group mindset. Artists in all industries no longer need to appeal to millions of people to succeed and make their mark. Instead, a group of even a few hundred loyal followers can enable the artist in question to pursue their dreams.

The results of this drastic change are phenomenal. Instead of artists having to adhere to certain genre’s or change themselves to appeal to more people, they can remain true to their essence and create whatever they want (well, within reason!)”.

Musicians have their music on platforms like SoundCloud and YouTube; they post behind-the-scenes videos and photos; they share reviews and news that comes their way – it all adds to a sense of productivity and marketing. I understand artists need to remain visible and cope in a saturated market.

The problem with keeping things strictly ‘musical’ means we are seeing more updates and bombardment. If you follow a selection of big and small artists, you will get to know them pretty well but I wonder how much of what we see is relevant. It might be fun seeing a GIF or a photo at a gig; we might smile a bit when they post wacky videos of them at a venue. Not only does the endless stream of updates get a bit much; you miss out on so much and it is impossible to connect with all your fans all of the time. I might miss an important update from a band who posts several pointless photos of them messing around in the studio. After a while of useless posts; I get a little fatigued and yearn for a bit of a breather. It is hard balancing between effective marketing and giving too much away. Look at the Pop market and some of the biggest artists there. Many will reach out to their fans but I wonder how many pouting photos and windows into their personal lives can be tolerated. Maybe there should be better filters so artists can better target their audience and, for people like me who do not need to know everything that comes out of their mouths, it would provide some rest. I would happily follow an artist and set what I want to get from them.

PHOTO CREDIT: Unsplash

I am not interested in any retweets coming from them; I do not want to see their Instagram feed – I only want to know about the music and what is going through their minds (in terms of creative thought). I feel the need to reach out and be so prolific is a way of coping in a saturated market. Artists feel revealing all and being constantly in the public view is a way of getting their name out there and getting ahead of the competition. Not only is that all-cards-on-the-table approach wearisome and overloading; it can affect mental-health and make the fan a bit addicted. I wonder whether the average Ariana Grande fan really needs to see her chilling at home or with her boyfriend; seeing every thought and being THAT connected. For the artist, there is that demand to have them spend hours a day on social media and open up their soul. That can backfire: fans and critics taking shots; feeling exposed and the need to keep pushing themselves in order to get more fans. I understand things are hard and it is a real struggle for a new artist.

This article posts a set of rules for social media dos and don’ts. Have a look here, too:

·         Keep your content varied. From a user’s perspective, nothing is more boring (and eventually, annoying) than seeing repetitive posts over and over. You’ll get more followers by mixing up your content to contain all sorts of material. Don’t just blast your followers with requests for likes or retweets – give back! Upload videos, share photos, make creative use of hashtags, offer giveaways, share sneak peeks, discuss albums or equipment you enjoy, and don’t forget to interact with your fans.

·         Don’t post too often – or too little. Different sources give different recommendations for the optimal posting frequency depending on factors like which website or app you’re using and how many followers you have. Generally speaking, two posts per day is recommended for artists with large followings (10,000 or more), while a lower posting frequency is typically advised for musicians with smaller followings. Planetary Group can help you find an effective social media strategy for maximizing your visibility and outreach to listeners.

·         Offer rewards for fans. Who doesn’t love being rewarded? You can make free downloads available to fans, or offer other simple, low-cost treats and exclusives, in exchange for liking your page or sharing a certain hashtag.

·         Get creative with interactive features. Artists often fixate on the “media” aspect of social media and forget about the “social” part; but the beauty of social media is that it creates a two-way street. Not only can you share content with fans, they can share content with you – which also happens to be a great (and cost-free) way to make an impression and forge a connection. For example, you can invite fans to submit their art, upload videos, or simply share their opinions.

·         Use a personal tone. You’re not the spokesperson for a multi-national corporation, so you shouldn’t write like one on Facebook (or, for that matter, on any other social media site you’re using). While you should definitely give your posts a once-over for basic grammar and readability, you should write like you speak so that your content has a genuine tone.

Steve Jobs you are one of my biggest inspirations and your story spirit and drive helps to push me everyday      congratulations on Apple hitting a trillion dollars also congrats to Eddie Q and Johnny Ives and Tim Cook and the entire Apple team

— KANYE WEST (@kanyewest) August 3, 2018

I do wonder whether it is hard to know where to draw the line and whether artists get too obsessed with getting as much information out there as possible. Whilst the musician has more ground than ever to cover; for those on the other end, it can be a bit heavy-handed and much. The musician is under more and more pressure to stay online and do as much as they can on social media. The effect on mental-health is clear – more and more artists committing suicide and suffering breakdowns. In any case; I feel there needs to be more of a balance and, yes, for artists to take it easier. I have followed artists only to regret it a day later – when they post more useless information than anything about their current projects. I feel we all need to take it easier and decide what is purposeful and needed.  Social media sites need more sophisticated filters so people like me will stick with artists and receive only the prime social media cuts. I am pleased there are so many artists coming through and putting their music online. I love the growth and choice but, when we have to see every movement and breath from them; it can get a bit annoying and lead many to hit that…

PHOTO CREDIT: Unsplash

UNFOLLOW button.

FEATURE: The World Is Your Oyster? WOMAD and the Visa Fiasco – and Why We Need to Do More to Welcome International Artists

FEATURE:

 

 

The World Is Your Oyster?

IN THIS PHOTO: The members of Tal National who were able to perform at WOMAD (some of their bandmates were denied entry to the U.K.)/PHOTO CREDIT: Judith Burrows/Getty  

WOMAD and the Visa Fiasco – and Why We Need to Do More to Welcome International Artists

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MANY of us have been hearing about…

PHOTO CREDIT: Getty Images

WOMAD  and the issues around visas. There are those who feel ‘World’ music – a rather broad and misunderstood term – is not really that good and something we do not really need to protect. The diversity and brilliance of the music world need to be embraced and spread as far as possible. The Guardian reported what happened at WOMAD and the musicians who missed out:

“Three of the acts scheduled for the festival – Sabry Mosbah from Tunisia, Wazimbo from Mozambique and some of the members of Niger’s Tal National – were denied entry to the UK and either had to cancel their festival appearance or perform stripped-down sets. Indian duo Hashmat Sultana passed through border control 24 hours after they were due to go on stage. Smith said that an increasing number of performers were now declining invitations to the event because they deemed the Home Office’s iron-fisted process humiliating.

Questions have been raised about what this means for the future of world music in the UK. The festival’s co-founder, Peter Gabriel, this week released a statement calling the situation “alarming” and asked: “Do we really want a white-breaded, Brexited flatland? A country that is losing the will to welcome the world?” Channel 4 News’s Jon Snow, meanwhile, tweeted: “The ‘hostile environment’ took its toll at Womad … a number of events were seriously affected by visa refusals. By definition, a festival of world music requires visas for many bands. What on Earth is the Home Office doing refusing them? Is music the new enemy?”

The fact Gabriel has come out in such strong terms shows you how ridiculous the situation is. I am not an expert regarding the Visa process – few of us are – but this is not the first time musicians have been restricted entry into the country. It costs hundreds to have a visa (for international artists) slow-tracked – it costs so much more to have it fast-tracked. There are countless boxes and processes the musician needs to go through. It is almost like renewing a passport and filling out a job application in one – to those whose first language is not English. They then have to find a wad of money to get a visa. There is that endless wait and, often, musicians are being turned away and denied. Artists including Serbian D.J. Tijana T revealed – to a Dance music site – she felt criminalised for having her U.K. visa denied three times in a year. Other artists have expressed horror and sadness at the lengths they have to go to in order to get a visa. The Home Office have said, last year, 99% of non-settlement visa applications were processed within fifteen days. That sounds like a pretty good statistic but you only need look at the difficulties surrounding the visa application process to know it needs changing. Artists often need to appear in-person at visa centres.

IN THIS PHOTO: Peter Gabriel/PHOTO CREDIT: Getty Images

Many of them do not live near one at all – it is hard when you’re in Africa and do not really have a choice. There are, as The Guardian’s article continues, other challenges:

“Performers invited by a number of approved events such as Womad (there are 45 in the UK in total) can apply for a permit-free festival visitor visa without the need to issue a certificate of sponsorship. But they must “provide bank statements showing a consistent balance of around £1,000 for at least three months,” says Richard. Even these visas are clearly no longer guaranteed, often due, according to David Jones, a director at live music producer Serious, to spiralling processing times. “What used to be the absolute maximum period they would turn the visa around in, 15 working days, has become the norm.” Often this means that passports are returned long after a gig has taken place”.

It seems, since 2015, it has become harder for non-residents to enter the U.K. to perform. Not only has the process got harder but, when many appeal after they are denied, many have to spend thousands rebooking flights and uprooting themselves. It is not as though people working in the visa office are racist and want to keep people out. There is costing-cutting happening and there is less accuracy/competency when processing forms. The fewer people employed to process applications, the more incidents like the WOMAD situation we will see.

There is another presumptions (international artists) are here to remain and not return to their countries. Musicians are here to do a job and bring pleasure to people. The fact those who can successfully get a visa and play here have to go through so much tells you how changes need to come in – we need to take measures and ensure there are no barriers imposed. Maybe it will be a case of festivals sponsoring acts or acting as references. Maybe there needs to be greater differentiation between non-genuine performers and those faking the application. That, again, comes down to resources and capital investment. Many others will say there is not enough money to overturn the visa situation – others are not concerned with the problem and feel there is no big loss. I am wondering whether Britain is pushing people away to keep ‘safe’ its own people. We are leaving Europe – in the worst and most embarrassing way possible – and it seems like we are becoming less connected with the rest of the world. Musicians from continents like Africa and Asia bring so much talent and colour to our shores. It is not only festivals like WOMAD where musicians are feeling excluded and frustrated. If artists have to pay a lot of money to get a visa and others are rejected for no good reason; we risk sending a bad message to the rest of the world.

PHOTO CREDIT: Getty Images

U.S. and European musicians will see how hard it is getting through barriers and customs; how stringent and complex the visa application process is. Many will not take the risk and stay where they are. The reverse may be true for British musicians: countries not willing to freely let in our artists if we are excluding theirs. All of this is a mess that needs untangling and getting to the bottom of. I am not sure whether there is an easy solution but is clear the Government needs to realise their current policies are not working. More money needs to be sourced to better staff the visa offices; the forms need revising and we need to make sure the process for applying for visas is affordable, thorough but not too difficult. Seeing festivals with a sea of white performers is not something I want to witness. Diversity and cultural richness rely upon openness and the understanding we cannot keep British music solely British. WOMAD director Chris Smith had this to say regarding other countries and their attitude to international musicians:

"Without a doubt it is harder to get into the U.K. than it is to get into other countries," he laments. "In other countries, the authorities bend over backwards to actually solve any problems that we may come across. Here you don't get the support. It's a premium cost phone line to an answering machine. We very often have staff sitting in the office making very expensive phone calls because the artists simply can't afford to."

 IN THIS PHOTO: Chris Smith/PHOTO CREDIT: Getty Images

He adds, "When you have your prime minister saying she wants to create a hostile environment for immigration, you have to assume that part of that is actually about being hostile and finding reasons [not to let people enter the country] -- whether it's racial or religious or any other grounds"

Musicians in Mali, for example, have to travel to Senegal to lodge applications; others have to wait endlessly for a decision and many others find the application itself user-unfriendly. Many artists find there is nobody to speak with regarding their application and it is a confusing and frustrating process. WOMAD has revealed a real problem – one we have only seen the tip of. We do not know how far the problem extends and how problematic it is for artists all over the world to get into Britain. If Brexit represents a new and more independent Britain then I wonder whether we need to look at our views of the world and why we are isolating ourselves. We are less keen on doing business with Europe and there is a view Britain is better off when it makes its own decisions and has a bigger say on the world market. Britain is hardly a shining example of openness and unity when it comes to people outside of our nation.

IN THIS PHOTO: Meklit performing at this year’s WOMAD/PHOTO CREDIT: Judy Totton/REX/Shutterstock

I know there are a lot of questions that need to be asked but the fact the visa process has got worse the last few years shows the current Government is dropping the ball. The real risk is a shrinking of our music culture. Britain, soon enough, will only produce its own artists and exclude everyone else. We are more welcoming when it comes to American and European artists; it is a simpler process and they have greater access to visa offices and assistance. In any case, many are calling for real change and a realisation this nation is losing what makes it great. If we push everyone away and make it impossible for great international artists to play here; festivals like WOMAD will be in danger and that will have a knock-on effect. I am concerned this is a sign of worse things to come: other festivals losing musicians because of the visa process, for instance. Let’s use WOMAD as an example of how brilliant World/international music is and why we need to make it easy for artists to come and play in the U.K. I am becoming more ashamed of the country and where we are heading. The music industry is the last industry I want to see suffer because of our restrictions and visa processes. Let’s learn from this mistake and hope the Government gets themselves organise and ensures…

IMAGE CREDIT: Getty Images

THIS never happens again.

INTERVIEW: Mike Edel

INTERVIEW:

 Mike Edel

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I have been spending time with Mike Edel…

who has been telling me about his new single, Go with You. I ask the songwriter which artists inspired him to get into music and how he divides his time between Canada and the U.S. – he shares a particularly ‘memorable’ event from his time in music.

Edel reveals his tour plans and what he wants to achieve before the end of this year; whether there is any more material coming later; which new artists we should watch out for – Edel ends the interview by selecting a great track.

____________

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

I am good. I am currently in California for a couple weeks and lots of stuff going on. It’s really great to have a song I love so much come into the world

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

Mike Edel. I am Canadian but currently live in Seattle.

Go with You is your latest track. Can you reveal its story and origins?

It’s about change and about going into the unknown with the people you love beside you. The song was written on an acoustic guitar fairly quickly but underwent a deep transformation sonically with a kind of '80s hi-hat drumbeat and SYNTH. I really love it.

It is a bit of an upbeat track. Do you think there are too few positive and optimistic songs in modern music?

I really like that it is hopeful. It’s not easy to be up-tempo or positive without being cliché or cookie-cutter I find.

How did you come to work with Chris Walla? Is it true he was living in the Arctic Circle?!

I had last seen Chris after his last show with Death Cab two blocks from my house at Rifflandia Festival in Victoria in 2014. I emailed him and eventually sent some demos I had worked on pretty for quite awhile. Yes, he WAS living in the Arctic Circle, no lie.

Will there be more material coming a bit later? What are you working on?

I have more music, yes! I’m really interested in giving some of these songs some extra lives and this one, in particular, I would love to make an acoustic version of it. I’m working on lots of music release plans other than that.

You divide your time between Canada and the U.S. Are there big differences in terms of the music of Seattle and British Columbia?

It’s crazy how much the border is a real thing that divides. I would love if there was more cross-over between artists and scenes etc. Seattle is very interesting to me because I’m still figuring out the music there and there are so many fundamental differences that I’m learning.

Who are the artists that inspire you and led you to get into songwriting?

I’ve had some really great mentors in all aspects of music and life. I think, now that some years have passed, I really appreciate these people whether it’s my first drum teacher or current producer.

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

Musical World Domination, of course.

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

I’ll tell you my most un-favourite. I was playing a show in California last week and my acoustic guitar got knocked over, took a spill and the neck broke. I am very sad.

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

Sufjan Stevens - Carrie & Lowell I really loved.

I loved the new National and War on Drugs albums.

There is a band called Nature Of from Edmonton whom we’ve played with - and I love their record and it’s fairly unknown.

Can we see you on tour soon? What dates are coming up?

08/12: Vancouver, BC/Harmony Arts Festival

08/16: Napa, C/Silos

08/17: San Diego, CA/Communal Coffee

08/21: San Francisco, CA/The Lost Church

09/05: Kelowna, BC/Fernando’s

09/06: Calgary, AB/The Gateway

09/07: Whitefish, MT/The Great Northern

09/15: Vancouver, BC/Westward Festival

09/16: Parksville, BC/REALM

10/04: Red Deer, AB/Bo’s

10/05: Edmonton, AB/Up+DT Festival

What advice would you give to new artists coming through?

Learn to collaborate and don’t give up on anything.

 IN THIS PHOTO: Scenic Route to Alaska/PHOTO CREDIT: Michael Johnny Carson Kuby

Are there any new artists you recommend we check out?

Scenic Route to Alaska, Nature Of; Tow’rs - so many I could list

IN THIS PHOTO: Nature Of

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

I’ve gotten into walking; like two-three-hour walks and I love that. I’ve also started to paddleboard lots. Both these things help me clear 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).

Nature Of – Bottom Line

____________

Follow Mike Edel

Official:

http://mikeedel.com/

Facebook:

https://www.facebook.com/mikeedelmikeedel

Twitter:

https://twitter.com/Mikeedelmusic

Instagram:

https://www.instagram.com/mikeedel/

YouTube:

https://www.youtube.com/channel/UCvCZBgLb3EOFtx-rduNAZzw

Spotify:

https://open.spotify.com/artist/2slZ64SaMOJ1EXEi3W9PTI

INTERVIEW: Lucy Whittaker

INTERVIEW:

Lucy Whittaker

___________

THE amazing Lucy Whittaker…

has been talking about her new single, Who’s Gonna Know, and working with Yizzy on it. The songwriter reveals albums that mean a lot to her; support Pride and what that live experience is like – she talks about the artists who led her into songwriting.

I ask Whittaker whether there will be more material coming and if there will be tour dates approaching; what she hopes to achieve before the end of the year – she recommends some artists we need to get behind and support.

____________

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

Hey, guys! I’m really well, thanks. It’s been a busy few weeks getting everything ready to release Who’s Gonna Know but we’ve made it!

Who’s Gonna Know is your new single. Can you reveal the story behind the song?

Who’s Gonna Know embodies my new sound – it’s darker, grittier and more honest than anything I’ve released before. The track is about the dark desires that everybody feels at some point and trying to keep those feelings hidden (whilst also giving in to them). You can use your imagination!

What was it like working with Yizzy on the song? How did you two hook up?

Yizzy is a really cool guy and he’s doing amazing things for Grime right now. I’ve been following him for a while and knew that his sound would be perfect for the song. I showed him the track, he did his thing and it all came together pretty smoothly.

Do you know where you head from here? Are you heading in the direction of an E.P. or will there be more singles?

Yes! I’ve got so many new tracks ready to go and I can’t wait to share them. My sound has definitely developed so I hope you’re ready for something new. Expect another single before the year is up.

Who are the artists that inspire you and led you to get into songwriting?

I grew up listening to a really eclectic mix of music, so my influences are from all over the place. I would say the artist who inspires me the most is Michael Jackson - he’s just magical to me. I also love artists like Madonna, Rihanna; The Rolling Stones, Billy Joel; Justin Bieber, Charly Black and Bruno Mars - a weird mixture, I know!

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

I want to play more shows around the world, release more of my new music and reach more people who haven’t currently heard of me. It would mean a lot to have more of my music heard!

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

For me, it’s probably when I supported Craig David in November. The event sold-out and there were 15,000 people there. The atmosphere was like nothing I’ve ever experienced and to get up there and do my thing was the most amazing feeling.

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

Bad - Michael Jackson, The Fame Monster - Lady Gaga, Jazz - Queen

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

Drake! He smashes it every time and to support him would just be insane. I feel like I would definitely push the boundaries on a Drake rider.

Can we see you on tour soon? What dates are coming up?

I’m on a U.K. tour right now! I’ve been playing some amazing shows and have met so many cool people along the way. I’ve still got more shows to go before summer is up - you can catch me at some of the U.K.’s biggest Pride festivals (Manchester, Leeds etc.); at my hometown in Cheltenham and we’ve got a few more surprise dates to release.

I know you have been performing during Pride season. What has that been like? How important is it to get your music heard there?

Prides are the best! The crowd is always so fun and the atmosphere is always positive. Everyone’s there to have a good time and celebrate who they are and it’s a really liberating feeling. The fight for equality is so important and to be able to stand with my community in solidarity is always emotional for me. London Pride was a highlight for me as it kicked off the summer tour and it was the first time I performed my new music to an audience. It felt so good!

What advice would you give to new artists coming through?

Be smart and keep going.  

Are there any new artists you recommend we check out?

Santino, Heir and Yizzy.

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).

Back II Eden - Donald Lawrence & Company. It’s my song for when my soul needs a bit of healing

____________

Follow Lucy Whittaker

Facebook:

https://www.facebook.com/LUCYWHITTAKERUK/

Twitter:

https://twitter.com/LucyWhittakerUK

Instagram:

https://www.instagram.com/lucywhittakeruk/

YouTube:

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

FEATURE: The August Playlist: Vol. 1: Kong, Mods and the Hunter

FEATURE:

 

The August Playlist

IN THIS PHOTO: Neneh Cherry

 Vol. 1: Kong, Mods and the Hunter

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THIS week brings some very exciting…

and unexpected releases to the fore. Neneh Cherry has released her first new material in a while and it is a classic slice – a nod back to her early career with plenty of original lashings! There is awesome new work from Sleaford Mods and Robyn; Slaves and YONAKA – a varied and exciting basket.

The weather is still pretty sweaty so, rather than endure it; get involved with a great selection of songs and sit back. Relax inside a week of brilliant music that shows, even though we are past the half-way mark of this year; there is no sign of things slowing or dimming for a moment!

IN THIS PHOTO: YONAKA/PHOTO CREDIT: Ryan Saradjola

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

___________

PHOTO CREDIT: Wolfgang Tillmans

Neneh Cherry – Kong

Interpol – Number 10

Anna Calvi – Hunter

Sleaford Mods – Stick in the Five and Go

Robyn – Missing U

Slaves – Chokehold

Wild Nothing – Letting Go

Paul Weller – Movin On

YONAKA – Waves

Darwin Deez – Say It First

PHOTO CREDIT: Harriet Brown

Black Honey – Midnight

Paloma Faith – Warrior

Jungle – Heavy, California

PHOTO CREDIT: @alexvnderblvck

Snoh Aalegra – Sometimes / Worse

Moses Sumney – Rank & File

Casey Lowry – Me & You

The Coral – After the Fair

Boy George & Culture Club – Let Somebody Love You

CXLOE – Show You

Death Cab for Cutie – Autumn Love

Ella Mai – Trip

Jade Bird – Uh Huh

Kid Ink – Big Deal

Nadia Rose – WUT2

Olivia O’Brien – UDK

XYLØ – I Don’t Want to See You Anymore

Amanda Shires – Take on the Dark

Iggy Azalea – Tokyo Snow Trip

CHVRCHES (ft. WEDNESDAY CAMPANELLA) – Out of My Head

TRACK REVIEW: Austel - Lost at Home

TRACK REVIEW:

 

Austel

Lost at Home

9.4/10

 The track, Lost at Home, is available via:

https://open.spotify.com/album/4PCVJTLPOZ2yeRxy6JMiSJ

GENRE:

Alternative

ORIGIN:

Devon, U.K.

The E.P., Unfold, is available via:

https://open.spotify.com/album/16dJFeSLTV8TACV4fjwrXB

RELEASE DATE:

20th July, 2018

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THIS time around…

I will look at some sides of music I have not touched on before. I want to look at music that documents leaving safe places and going somewhere unknown; E.P.s/albums and why the format needs to be celebrated more; being able to find solace and a sense of identity in music; artists who can take life events and common themes and turn them into something fantastic – I will end by looking at Austel and where she might head in the next few years. The reason I am keen to look at Austel is because of the subjects she brings into her new E.P., Unfold. I am in the position of moving from home and going up to the city (Manchester). It is hard making a shift and leaving something behind that seems comfortable and going somewhere new. The challenge (is having) to deal with leaving one form of life and moving to another. It can be quite hard leaving things behind and adapting to a very new way of life. I have got to the point because I need the opportunity of the city and the variety of people – going somewhere that offers a lot more life and a different way of life. There is always something a bit scary about the unknown and embracing something unfamiliar. What I am finding nervous is stepping somewhere that is new and I have not been that often. One needs guidance and words to say that things will be okay and it will all work out. It will work out, of course, but it is tough uprooting – even if you are very unhappy – and going somewhere new. Austel investigates leaving home and going to the city. One of the reasons why she has been in such productive mood is changes and having to enter a new phase of life. She investigates heartache and coming out of a long-term relationship; facing the world on her own and knowing, in the end, that there are positives and the change is good.

A lot of music doesn’t really touch on areas that are relevant to people like you and me. There is still too much reliance on relationships alone and something that is quite insular and personal. You can get something from music about broken love but, if you are not in the same position and have not been through the same thing, it is difficult relating and the music only does so much. I like artists that think outside of their own box and look at a wider world. Austel has, as she says, been looking to move to the city and desires that buzz. I think every artist gets into the position, if they are outside the city, where they need that community and rush. If you are in a quiet place or somewhere where you feel alienated; you are always going to pine for something that is different and wonderful. I am not sure whether she has found a good place in the city – I assume so – but that decision to break from the familiar and safe and get somewhere else has rooted in me. My situation is different but the circumstances are the same: wanting to be in a place that is more ‘me’ and thriving. Austel’s new music, especially Lost At Home, gives that sort of strength and insight that I can relate to. When I talked about artists who speak of love and the pains of it; I was being a little harsh. It is good to hear musicians being personal but there is something great when you listen to songs that look at other aspects. Austel has dealt with a lot and going through transformations. Going into the unknown is always risky and scary but, when you get there, you’ll find there is support and people who think like you. I have never really spent a lot of time living on my own away from home but it is a time when I need to take a chance and go somewhere I feel enriched and motivated. There is always the gamble of things not working out and having to come back – the city is busy with chances and work, so one can get their footing easily enough.

I wanted to look at the whole of Unfold but, as my rules are rules, I can only do the one song. I will look at Lost at Home later and what it means to me but, before then, I will look at the E.P./album and something fuller. We have a national day celebrating the album coming up very soon. I think we all get into the assumption music, now, is digital and disposable. Most of us like to access a lot of music but how often do we drink in an entire album and take time to digest it?! I wonder whether we allow ourselves enough time to listen to music in a real way with all the choice in front of us. We are bombarded with music and options so, naturally, it is hard to absorb what we have and let it linger in the mind. I have been following music since I was a child and have seen a change – going from someone who used to listen to albums all the time to someone who listens to singles more. I want to listen to albums more and spend time really getting into music. I think there is a lot of benefit assessing the complete statement of an artist and taking the time to study their work. You only get a slight impression of who they are by picking the odd song (from an album). Austel has released a great E.P. that tells a whole story. It might be ironic that I am mentioning this point – given the fact I am reviewing one song – but the Unfold E.P. is a complete view of where Austel is and how things are working out. There are doubts and strained relationships but that outcome: things will work out and there is light and revelation at the end. If you listen to a couple of songs; you get a rather distorted and unbalanced view of the E.P. I am not sure whether she is bringing out an album sometime but I am interested seeing how her life pans out and what comes next.

What strikes me is how emphatic and confident Austel sounds. One would not get the impression she was wrestling with doubts and trying to work life out. I think, having listened to the E.P., she has faced some tough questions and challenges but transitioned well. The heroine knows where she wants to go and has found rebirth by taking a big step. You can get that impression speaking to her but, as most of us do not have access to Austel, the music is the only way we can find out what she is about. Music is the personality and conversation from the artist. If we are only half-listening or skipping over parts; how are we to get a rounded and full vision of who they are? The artist puts a lot of time and money into recording E.P.s. If you make an album, for instance, you want people to listen to every song and not just handpick the odd song. It is difficult committing a lot of time to an individual work. I feel the reason why music has come a long way and managed to inspire the masses is because of the generation who listened to whole albums. The best bands and artists from all time would not be in our minds if we only listened to singles or the odd scrap. Modern music has a lot of positives but I feel, unless we allow more time to listen to music properly, we are not going to remember artists and stick with older sounds. Maybe we are all busier than before but something else is going on. My point is, when you allow time to listen to a full work; you get a much more vivid impression of an artist and understand what they are about. That is what one gets when you hear Austel and her new E.P. She is one of those artists who compels one to listen carefully and dive into the E.P. You hear the varied songs and all the different emotions fusing and contorting.

I have mentioned relating to music and artists like Austel – how her situation and realisations can provide guidance to me. One of the other reasons why I wanted to look at Austel and her talent is the way I can find a sense of identity. She has, as I have said, decided to relocate to the city and has faced heartache. I have not been in the position where I have faced heartbreak – not too good-looking and popular; merely a bit pathetic – but I am going through that change. What strikes me is how heavy and complicated it can be to move. Shifting your life and fitting in somewhere else can be desirable and much-needed but, when you are planning it, there is a lot to sort out. They say moving house is one of the most stressful things one can do – if you do that alone then it can be even worse. I have not come across many people who have gone through the same situation so it is hard to see how it will work out and what the future holds. Music, in a compositional sense, can provide some uplift and sense of meaning. You can take some direction from songs that generally look at making changes and extrapolate from that. Songs that directly talk about what you are going through are much more powerful. Look at Austel and where she is now and there are those who can relate and root for her. In many ways, hearing her sing and seeing those words come to life makes me feel less alone and provides some direction. I can identify with what she is going through and I can connect on a deeper level. It is rather wonderful being able to understand an artist and what their life is about when you have never met them. How many of us listen to music now and can get a real sense of togetherness and identity? By that, I mean listen to an artist and we feel like we’re one of the same.

I will move onto new things in a bit I wanted to encourage people to listen to the Unfold E.P. and drink it all its notes. There is a story arc and a real sense of development from the first notes to the last. Many of you, if you give it time and dedication, will find familiarity and be able to connect with the music. Maybe you will not get a profound a reaction as me but there is every chance you will feel less confused or alone – more enlightened and educated at the very least. Austel has combined her background is Jazz and Indie and created something heady and detailed. The musicianship and nuance you get in every song is remarkable. What hit me hardest was the exceptional lyrics and how Austel’s voice highlights and emphasises every note. She has worked on various projects and had a good range of live experiences. Recorded during stolen weekends and evenings in Peckham; the E.P. sounds like it is a young woman embarking on new challenges and rooted in the city. I have been a little worried about my choices but feel refreshed and safer when listening to Austel. She has a brought future ahead and has made the right decision. There are a lot of people dealing with heartache and changes in life – how many of them actually document them in a fresh and inspired way? I feel Austel take a new angle and combines catharsis and fear without being too heavy-handed. You get revelation and honesty but there is intrigue and enigma to be found. The young artist has asked some serious questions and is ready to tackle the next stage of her life. Given the ambition she has and the music she puts out; it is understandable she would want to be in the city and have that opportunity to properly flourish. I shall move on and look at one of Unfold’s songs that warrant wider explanation and investigation.

Lost at Home starts life with echo, entice and beauty. There is far-away vocals and an atmosphere that beckons you in. It is a rather moody and smoke-filled beginning that projects images of classical literature. That seems odd but there is a definite sense of an ill-fated heroine and a dramatic scene. I got the view of a fireplace and a darkened room; windy conditions outside and the smell of dust in the air. When Austel comes to the microphone; her voice, at once, buckles the knees and possesses that immense beauty. She is someone in the shadows and trying to move on from where she is. You get a real sense there is emotional weight and questions heavy on her shoulders. She is tired of the darkness and someone who yearns for the flames. I got the sense, at once, that darkness and sense of unhappiness were in relation to where she is now. She is at home and is not really reacting to what is around her. Maybe life is boring or she feels alien around people she is familiar with. There is not a lot of life and action here and there’s that desire to get into the city and the light. One hears real emotion and a fatigue coming from the heroine. She is retreating from touch and wants someone to open the door and let her get out. That need for escape and embrace is evident. You listen to the song and the way the words are delivered and you can hear the emotion. The song is never too heavy and foreboding at any stage. You do not feel suffocated or unhappy listening to the track. Instead, there is that feeling you are with someone who is reaching out and trying to bring you into their world. Knowing the song is about moving and rooting from home; it is understandable there is a sense of fear and unhappiness. The heroine has spent a long time here and it is time to move on.

Our heroine feels overruled and silent when she is at home. Maybe there is a sense of feeling smaller and not really being happy. Perhaps there is little opportunity and vibrancy that has dampened her mood and made her yearn for the city. Beats come in to accompany piano and soothing vocals. I want to know more about Austel and where she is heading and, in Lost at Home, you get a vivid and descriptive sense of what is making her tick. That feeling of being suffocated and overlooked is forcing changes and big decisions. Many others have noted how powerful and stunning Austel’s voice is. She manages to make her words both sensitive and strident without too much effort. A natural and instinctive performer who can bring the listener into her world; you are drawn into the scene and follow Austel. She has been struggling with doubts and looking to the wider world for a long time now. It is time to get out and go somewhere she feels freer and understood. The rooms she lives in are not her own and the bad mood she is in is causing problems. The chorus stretches the vocals and brings the biggest emotional hit. Austel is explaining her situation and why she needs to get away. With excellent production and a wonderful composition; the listener is treated to a song that gets into the heart and ears. You keep coming back to Lost at Home and discovering new sides. The lyrics stick out because there are no clichés and disguised sentiments. Austel is honest and open with her language and does not talk down to the listener. She never pushes anyone away at any stage: the music brings you right in; the words reach out and get into the soul. I am fascinated by the song and have taken a lot from it. She does not want to feel safe and honed. The heroine wants to stop feeling crap – she is slowly shrinking and wasting – and rotting away. There are dramatic words and descriptions that highlight how tormented and lost she is right now. Given the emotion and situation she is in; I can understand why she wants to get away and embark on a trek to the city. By the end of the song, you feel enriched but drained. That is not a slight at all. Lost at Home is a very personal song but there is something in there anyone can understand. I felt some semblance of relatability and common sense. It is an extraordinary effort from Austel and proof she is among the very best young artists out there. The songwriter has hit new peaks and created a song (and E.P.) that stands out and remains in the mind. Make sure you hear the song and spend time listening to the Unfold E.P. I keep coming back to Lost at Home and all the different strands. The swelling and luscious composition; the brilliant production and incredible vocals; combine with the vivid and memorable lyrics and you have a song that ticks all the boxes.

PHOTO CREDIT: Magda Wrzeszcz Photography

I think Austel will have a very busy and active next few years. Right now, she has moved from home and is embarking on a rather scary (but good) change. She has thought long and hard about her choices and has decided to take the step. One gets tales of ruined love and questioning but, in the end, there is that sense of light and change. It is wonderful to see Austel in a happier place and letting her wings unfold. I know there will be gigs coming up and chances to see Austel play live. Look at her social media channels and find out where she is heading. I am looking at the reviews coming in for Unfold and it seems like people are reacting to it really strong. That is great to see but does not surprise me at all. We are all seeing music change and it becoming a lot more disposable. I worry we are overlooking artists and not giving them a proper appreciation. Maybe streaming and digital music mean there is too much choice and it is impossible dedicating proper time to an E.P./album. Austel is one of those artists who encourages listeners to look at her entire work and not hurry past. You can listen to a song and appreciate it but, if you move to another artist (without looking at what else she has done) then you are missing out. There are many reasons why you all need to listen to Unfold and not be too hurried – there are lessons and insights we can all learn from. The young songwriter seems perfect for London and what is coming out of the city. I think working and recording in an area like Peckham is really sound. South London is really flourishing and it seems some of the best artists in modern music and based there. It is a fascinating and vibrant corner of the world with a mix of nationalities, vistas and sounds.

Austel has vibed from all the activity and variation there and created something immense. I know she will love the city and find a natural home there. One of the good things about being based in London is all the like-minded humans who can help you out. She has the chance to bond with other musicians and hone her talents. She can get some performance experience and play a range of different venues. As much as anything, she has a lot of opportunity at her feet and will never be bored. It is exciting watching her enter a new stage of life and attack it head-on. I think next year will be one where big gigs arrive and the best days of her career come. She has come a long way and evolved as an artist since the early days. It is a great and productive time for her right now. I feel she will draw in a lot more fans and get some big gigs in a few months. Lots of new people who are discovering her music are spreading the world and there is some heat heading her way. I shall end the review now but it has been great listening to Austel and Lost at Home. That song seemed most relevant to me and delivers a lot of truths. It is a fantastic offering from an E.P. that is so full of activity and life. Make sure you listen to Unfold and see where Austel is right now. She is a brilliant young artist who is going to be in the music industry for many years to come. I have been seeking some comfort and guidance this week and, with Austel, that has arrived. I am compelled to follow her career and where is going to step next. If you want to find a musician who goes deeper and further than most out there; have a listen to the brilliant Austel and you will find an artist that…

SPEAKS for you and has your back.

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Follow Austel

Twitter:

https://twitter.com/austelmusic

Facebook:

https://www.facebook.com/austelmusic/

Instagram:

https://www.instagram.com/austelmusic/

SoundCloud:

https://soundcloud.com/austel-music

Spotify:

https://open.spotify.com/artist/7jMnfga7535wl3kJmUlRvq?si=NT__k6c1T-mfLNJ5Abmw2w

YouTube:

https://www.youtube.com/channel/UCxgw5LIraJ31LpTjSHqJXOw

INTERVIEW: FHAT

INTERVIEW:

FHAT

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I have been talking with the guys of FHAT…

about their awesome new single, Pleasure, and what its story is. Aaron and Sedric discuss how they found one another and the sort of music they vibe to; what comes next for them; if we might catch them on tour – they recommend some artists to have a look out for.

I ask them whether they have anything left to tick off their to-do list before the end of the year; whether being on stage is the most important part of music; what advice they would give to artists coming through – the guys end the interview by selecting some great songs.

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

Aaron: Great. Very eventful (laughs) #leoseason (fifth season of the astrological cycle, within which I was born). We released the first single, found an apartment in Berlin (move in next week) and it was Sedric’s birthday party last night.

Sedric: It’s been pretty epic. I think we’re still recovering.

How are you taking to the heat at the moment? Is it encouraging songwriting and creativity?

A: Yes. I love the heat; I love to be sweaty and wear as little clothes as possible.

S: I love it. I feel like it makes everything relaxed and easy. It’s always my happiest time of year, so making music is always fun.

Pleasure is your debut cut. What is the story behind the song?

A: After our first feature, Back to Life, we had been constantly writing songs for FHAT; experimenting with different styles and producers. Inspired by the SZA album and Ty Dolla Sign, we wanted some fast, really modern vibes so we met with Jumpa! He is a killer Trap, Hip-Hop and Electronic producer and he whipped up this track rather quickly - as Geminis usually do when given a challenge. The result was Pleasure - a sexy summer bop about how, sometimes, tough situations usually end up having great rewards.

S: Yeah. The thing I love about it is that each song we write is like a snapshot of our friendship and the positive impacts it’s had on us. It’s been a wild journey, but we really keep each other in line and we’re always pleasantly surprised by the end results. I’m STILL trying to figure out how the hell we ended up in Berlin!

How did FHAT find one another? When did you two meet?

A: We met three years ago at a birthday party in a castle in the Hollywood Hills. I had been living in L.A. working on music, becoming a vegetarian and doing yoga (you know, as one does in L.A. (laughs). We instantly became very close as if we’d known each other for years! Our friendship became so dear. I applied for a few travel credit card and we pulled an EAT PRAY LOVE!  And ended up in Berlin

S: The weird thing is we’d both lived in New York for the same exact amount of time and knew some of the same people - I’m sure we’d passed each other a few times…but this random night in L.A., a few people from the castle party were going to a show of Aaron’s. At first glance, I thought he was very…’high on life’ (laughs). At the end of the night, he asked if I was a vampire. The next day we went to The Cheesecake Factory and laughed for hours. The rest is history.

Are you looking ahead at more material in the future? Might we see an E.P. later this year?

A: You will see A LOT from us in the coming year. We plan on releasing tons of music independently; a music video with a very special character from a popular U.K. television show. Def planning on more shows and would love to do a classic album like Kali Uchis, Daniel Caesar and Janelle Monáe have done. A body of work with visuals!

S: Absolutely! We’re working with so many people who just feel what we’re trying to do. I think, once we’ve achieved a few of our short-term goals with music videos, web series; singles and festivals, we’ll do a retreat in Spain and get started on a trippy FHAT album. We’re both such avid music lovers - we really want to present something special.

Which artists do you count as idols? Do you listen to the same sort of music?

A: Idols - Sade, Jessie ware; Jill Scott, Lianne La Havas; Emily King, Nina Simone….the list goes on. There is so much music I am in love with. Yes, I listen to lots of different styles of music but Alt-R&B, classic R&B; Soul and Jazz tend to be my go-to. #Gregoryporter #rachelleferrell

S: We do love a lot of the same stuff but always surprise each other with the deep cuts from our own faves. Aaron has this particular brand of early-2000s R&B/Pop that I never heard. It’s always nice to spark up, dance and laugh at how far music’s come since then…

As far as my own idols; they’re always singers who make me feel something transcendent. Like Whitney (Houston), Patti (Smith); Sade, Erykah (Badu), Sarah Vaughan; Le'Andria Johnson, Nat King Cole and Plácido Domingo. The list goes on but I’m picky with singers!

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

A: We really wanna nail the music video for Pleasure. We film mid-August and have a great team and concept for the tune. We would love to keep doing bigger shows. We played at a festival here in Berlin on the Red Bull tour bus and it went over really well!

S: I’m so pumped for these visuals. We have another directing team working on a video for another single of ours and I get the feeling it’ll be iconic. And at some point, I’d like to get back to the U.S. and take on some of the big stages there and show them what we’ve been working on.

Do you think there will be touring dates? Can we catch you play?

A: Yesss. That’s our ultimate goal! As electronic as our productions may be, they are very musical and we are classic SANGERS under all of that. The live shows are going to be amazing! There’s also been talks of opening for a special someone in October will keep you posted.

S: At the moment, we’ve been hitting in Berlin, testing out how all this music goes over. Would love to spread out over Europe in the next few months and eventually make it international!

Can you recall a time when you have had a really great time on stage? Who has been the most to perform with?

A: A few weeks ago at our show at Prachtwerk here in Berlin...the crowd was so into the vibes. We included an incredible pianist in the set and it felt great to play our music live and have people respond to it SOO well.

S: The first show we did at an event called Songversations was really special for me. It was our first time playing together and it was just us. So many people came out and showed love. They knew the words to our songs and danced like we were already stars. At that moment, I was like: ‘Yeah; this is a thing’.

How important is it getting up on stage and performing to the crowd? Are they the best times?!

A: Oh, yes. I started singing in a Jazz trio at eighteen in Pittsburgh and in New York; I was on a stage multiple times a week! I love to perform and to be performing your own original material is so rewarding!

S: It’s so crucial. Since I was a kid, it’s all I think about. We had this big, wall-to-wall mirror in my old house and I would run full-length concerts of all my favorite songs, complete with choreo; crowd banter and intermissions. I took it very seriously. So; to step on stage and have people singing back to us is just a dream.

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

A: I have to say it’s been the past year-and-a-half traveling around and working on the FHAT project! Because it’s the two of us, there’s not as much pressure as solo project. FHAT is fueled by us being our most authentic selves and bringing the best out of each other! The journey so far has been hard; at times never knowing where your next paycheck is coming from but “we don’t mind the pain when it comes with so much pleasure”. Hahah

S: That’s a tough one. The first thing that comes to mind is actually when we recorded Back to Life. Up until that day, we’d never worked together. But, something about that song just brought it all together for me - our friendship, this path – and, what started as a random session, ended up just being a crazy studio party. The energy was so high.

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

A: Would love to tour with Anderson. Paak or Tank and the Bangas…or Lizzo.

Rider: Coconut water, spinach pies; Hugo and face lotion to STAY MOIST!

S: I’d love to open for Tyler, Little Dragon or Ty Dolla Sign. We definitely need a drummer. I would keep the crowd guessing by swapping different instruments like trumpet, guitar and laser harp. We need a smoke machine and some fire. I’m a Leo: fire gets me going.

What advice would you give to new artists coming through?

A: Know your lane. Practice…a lot. Know the business as well. It’s a rapidly evolving tech age and you need to stay ahead of the curves. Lastly; MAKE GOOD S#%¥.

S: I’d say, don’t be afraid to create your own lane with respect to those who inspire you! Go deep within, find out exactly what message you would send yourself to heal yourself from whatever-the-f*ck and just put the work in to make it sound as clear as possible. If it’s meant to be, the universe will have your back.

IN THIS PHOTO: Noah Slee/PHOTO CREDIT: Wilk

Are there any new artists you recommend we check out?

A: Noah Slee if you haven’t already. Sonder. Louis III. Moli. Sedric Perry is also about to put some really amazing solo stuff out.

S: I’m flattered, pookie. There’s this girl, Aleana, from Philly I knew when I was in high-school. She’s just the complete package for me - voice, lyrical content; flow, how subtle she is with her delivery. It kind of reminds me of when I started listening to Jill Scott – and, of course, Aaron. Since our time together, I’ve watched him carve his own lane and find his truest voice. Sometimes, I’m still surprised by the sh*t he comes home with!

IN THIS PHOTO: Aleana

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

A: We’ve been going to a lot of lakes here in Berlin as the weather’s been great. We also love a good sauna/spa when we have some extra money.

S: we were going really hard this year where we didn’t have a day off. Even when we were off, we were talking about what the next move would be. But, recently we learned it’s healthy to put some distance in there every now and then. Berlin’s pretty wild so it’s easy to decompress. Hehe.

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).

A: Sade - When Am I Going to Make a Living

S: Teyana Taylor - WTP (Work This Pussy)

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Follow FHAT

Facebook:

https://www.facebook.com/fhatmusic/

Twitter:

https://twitter.com/fhatmusic

Instagram:

https://www.instagram.com/fhatmusic/

SoundCloud:

https://soundcloud.com/fhatmusic

INTERVIEW: Dominique

INTERVIEW:

Dominique

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THE incredible and impassioned Dominique…

has been telling me about her new single, Receipts. I ask what the single’s story is and whether more material will come; what the music scene and vibe is like in New York; whether, as a female producer, she feels the industry needs to give more props to her peers – Dominique discusses her influences and musical tastes.

I was keen to know which new artists she recommends and which albums she holds dearest; if she gets time to unwind away from music; if there are any tour dates coming up – she ends the interview with a great song choice!

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

I'm doing great! Super-excited to have put out a new track last week and I'm so happy that people are enjoying it.

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

I'm a singer, songwriter and producer based in N.Y.C. I've been releasing music for the past few years and have my second E.P. on the way.

Receipts is your track. Can you discuss its story and how it came together?

Receipts was inspired by someone screwing me over again and again and always begging for another chance until I couldn't take it anymore. In this case, the 'receipts' are the evidence I needed to prove that I couldn’t trust this person.

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

Yes! There'll be another single and most likely some remixes and feature tracks. I'm trying to make each release as special as possible with each one having its own set of visuals.

I believe you have been writing with two N.Y.C. contemporaries MDA and EJAE. Has that led to possible material?

Yes. I love these girls and writing with them is a blast. We'll definitely have more music we've written together on the way.

How important are New York and its diversity regarding your creative spirit and artists around you? Do you find it a great place to write music in?

N.Y.C. has a very tight-knit writing community that I'd only recently started to get involved in within the past year. Many artists and writers have relocated to L.A., but there's still a bunch of us holding down the fort. I wouldn't want to be based anywhere else.

Music came into your life very early. Have you been writing since you were a child? What got you into music so young?!

I have! My dad is a musician and a professional bass player and he fostered my love of music. I began writing really goofy short songs at the age of seven and I'd sing them all the time and annoy the hell out of everyone. Around age fifteen, I took songwriting more seriously and started making full tracks and producing demos on GarageBand.

Who are the artists that inspire you and led you to get into songwriting?

Most recently, the artists have been Charli XCX, Allie X and Tove Styrke. When I was a kid, I listened to a lot of Queen and whatever other '60s and '70s music my dad had playing in the house all the time. 

You are a successful and prolific producer. Do you think it is important the music industry takes more notice of female producers? Do you, in turn, reach out to aspiring female talent and guide them?

Thank you! Yes - and I think the recent activism has helped a bit but there's still a ways to go. I love to help guide aspiring artists and if anyone ever wants to reach out to me for help, I'd be more than happy to. Any time I work with a woman who has an interest in learning how to produce, I really enjoy teaching them how to work with Ableton, etc.

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

I REALLY want to start playing out live and I'd also love to release a music video.

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

Honestly, I think these past six months have been my favorite because I just started collaborating with other artists and writers instead of working by myself all the time. Music is so much more fun to make when you do it with other people.

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

Miike Snow – Miike Snow

I really vibe with the production and feel from this album and am always revisiting it. It's been one of my favorites for the past eight years - and I don't think that'll ever change.

Melodrama – Lorde

This is such a well-done and emotional album. Lorde's a genius and really knows to make the listener feel something.

OutKast –The Love Below/Speakerboxxx

This was the first album I ever bought and I have probably listened to it over a thousand times. It, hands-down, had a huge influence on my writing and production style.

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

I would die to support Charli XCX - and I'd probably be so happy to be there that I wouldn't even fill out a rider.

Can we see you on tour soon? What dates are coming up?

Unfortunately, no dates right now - but I PROMISE it's coming soon.

What advice would you give to new artists coming through?

Spend a lot of time refining your writing and thinking about the artist you want to be. Look at the artists you love and figure out why you love them so much and learn from it. Listen to a ton of new music!

IN THIS PHOTO: Eva Honey

Are there any new artists you recommend we check out?

I'm working with an incredible artist right now named Eva Honey. She doesn't have any releases out yet but she will soon!

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

Usually, the only thing I do when I'm not spending time on music is seeing my friends. It's the perfect distraction and always keeps me inspired.

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).

Not So Bad in LA - Allie X (smiles)

___________

Follow Dominique

Official:

http://www.dominique-music.com/

Facebook:

https://www.facebook.com/D0MINIQUEMUSIC/

Twitter:

https://twitter.com/dom_n_que

Instagram:

https://www.instagram.com/dom_n_que_/

Spotify:

https://open.spotify.com/artist/3OVWX97HduBB6SriNxtiQ8

SoundCloud:

https://soundcloud.com/dominique

YouTube:

https://www.youtube.com/c/DominiqueMusic

INTERVIEW: Roxanne de Bastion

INTERVIEW:

Roxanne de Bastion

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SHE has just seen Paul McCartney…

play a rare gig - so Roxanne de Bastion was keen to discuss that! I ask the songwriter about her Tales from the Rails mini-tour and what it encompasses; she discusses her album, Heirlooms & Hearsay, and recommends some artists to look out for.

The songwriter talks about her musical influences and chooses three albums that mean the most to her; whether she gets time to unwind away from music; what she hopes to achieve before the end of this year – de Bastion talks about favourite memories from her career.

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

Hi! You’ve picked the best possible week to ask me that. I’ve loved The Beatles for longer than I can remember and this week I had the once-in-a-lifetime opportunity to see Paul McCartney perform live in Studio 2 at Abbey Road. He played for two hours and it was pure magic. It may well have been the best day of my life so, yeah - I’ve had a pretty amazing week, thank you! 

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

My name’s Roxanne de Bastion. I’m a singer-songwriter and don’t usually get invited to exclusive Paul McCartney gigs…! My songs tend to be acoustic guitar or piano-based and would probably be filed under ‘Alternative-Pop’ - if that’s a thing. Songwriting is my way of dealing with the world around me, so most of my lyrics are confessional and attempt to make sense of what I see and feel.

I’ve been very fortunate to have toured lots over the past years across the U.K., Europe and the U.S. and have just released my album Heirlooms & Hearsay. Right now, I’m working on new material and am about to play a couple of shows in the U.K. to promote my first book. 

Tales from the Rails is your mini-tour. Can you explain the concept and what we might expect?

Sure! Tales from the Rails is the title of my book. It’s a collection of edited blog posts that I’ve written throughout the last years of D.I.Y. touring. I don’t have a driving license, so for a really long time touring consisted of travelling via train or megabits with a suitcase and a guitar. I’m playing most of these upcoming shows solo or as a duo with the amazing Matt Reynolds on lead guitar (who drives; so that’s me graduating from the rails on to the roads).

We’re playing in Liverpool on 3rd August, Leeds on 5th August and Coventry on 10th August. You can expect lots of stories, some visuals as well as new songs (if all my songs aren’t new to you!). 

Is the stage somewhere you love to be? Is that buzz and connection with the audience what keeps you driving and moving forward? 

That’s a definite yes. There’s nothing better than connecting with people over music. It’s all I know and what I do. 

Are you working on new material at the moment? Might we see some music before the end of the year?

Yes. I’m working on the next album right now and will be releasing a single later on this year. 

Looking back at your year; what have been the highs and lows? Do you think you have learned anything about yourself during that time?

Highs include touring in Canada for the first time, opening for Marillion here in the U.K. (in what to me were HUGE venues) and playing my biggest headline show to date at The Lexington this April. I got to meet so many lovely people along the way and have learnt that you can always count on humans to make the world seem a better place if you let them.

Lows include breaking my ankle (and having to tour/perform on crutches), as well as generally fearing for the state of the world. I’ve learnt not to take the rubbish out when angry and never to watch the 10 o’clock news. 

Which artists did you grow up listening to? Do you recall when music first came into your life?

Music proceeded memory, that’s for sure. My dad’s a musician, so we always had instruments and recording gear around the house. Growing up, I’d always play and sing together with him in the kitchen (good reverb; almost as good as in showers). I don’t remember this, but the story goes that I really wanted to watch T.V. when I was four-years-old. My mum thought that showing me The Beatles’ Yellow Submarine would be harmless…I fell in love instantly and haven’t fallen out of it since.

Is it possible to express music’s power and how important it is to you?

Well. Seeing as you’ve asked, I’ll try. Songs teach us empathy. The more empathetic a society we are, the less time we will spend servicing few to the detriment of many. Whenever people come together for a positive experience, such as a shared love for music, you can feel how powerful that is (just think of your favourite concert - you’ll carry that memory for as long as your feet carry you). As for me, personally, I know I’ll be fine as long as I can sing and write and listen.

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

I hope to have finished my album, to have written many more songs; to have gone on a tour or two and to have a fully-functioning ankle again. I’d also like to eat lobster at least one more time before the year is up - had my first one in Canada during my tour last year and haven’t really stopped thinking about it since. 

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

SO MANY favourite moments! Playing Glastonbury was pretty special - one of those career milestones that will make your parents proud. My album launch shows at the Roundhouse in London and Leaf in Liverpool were pretty special too. I think, more than one particular show, it’s more a whirlwind of images, people and sparkly moments - sometimes the smallest living-room show can be the best thing ever. It’s all about the audience and the vibe in the room!

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

Just three? Ok… 

The Beatles – The Beatles Live At the BBC

This is the first body of music I consciously remember hearing. I know it off by heart, every tiny pause; every interlude and every breath and beat of every song. It’s where I discovered Blues-Rock, harmonies and that energy of live music. 

Soviet Kitsch by Regina Spektor

I first discovered her when I had just moved from my home in Berlin to England to try and make music and be a grown up. I was knocked sideways by Us. She’s one of my main musical inspirations; firstly because she does whatever the hell she wants lyrically and structurally, but also because she has such an emotional delivery and is a brilliant musician and composer. 

Heirlooms & Hearsay by me

You’ve asked which albums mean the most to me, so I’m going to have to pick the body of work I put into the world last year. The album is dedicated to my grandfather, whom I never really got to meet but have been thinking on often. He was a professional pianist, but his career and life were interrupted by war. My grandparents survived and landed in the U.K. in 1947. I can’t believe that all this horror in Europe is only two generations ago and here we are again with the stupidity and gall to think that refugees are the cause of our problems. It’s tragic.

I wanted to write songs that drew analogies to then and now, but from a personal point of view. I found an old recording of my grandfather’s where he plays one of his compositions and gives a little birthday message to my dad, who was to turn seven the following day. It’s featured on the album. I hope he wouldn’t have minded. 

Honorary mentions go to The Beatles’ Revolver, The Who’s Tommy; Judee Sill’s self-titled debut, George Harrison’s All Things Must Pass, The Streets’ Original Pirate Material and Alligator by The National (which I’m listening to right now). Tomorrow’s answers may be different… 

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

Probably Regina Spektor. My rider would be a bag to breathe into. 

What advice would you give to new artists coming through?

I am definitely still that. The advice I’d give myself and others (much easier to give it than to take it) would be to follow your intuition, always make the kind of music you want to make and try to avoid artistic compromise for the sake of a dangling carrot (i.e. is this radio-friendly etc.). I’d also advise (artists) to learn as much about all aspects of the industry as possible (join the FAC!); connect with other musicians for advice and mutual support - and just work as hard as you can without driving yourself crazy.

IN THIS PHOTO: ME and Deboe

Are there any new artists you recommend we check out?

Yeah! There’s SO much fantastic music out there to discover! I’m going to go with a Liverpool theme today…

Check out the amazing ME and Deboe and the beautifully voiced Eleanor Nelly. I’m also going to throw in The Ragamuffins for good measure and fun. 

IN THIS PHOTO: Eleanor Nelly

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

Well, no, but I wouldn’t want that. I unwind by singing and listening to music (possibly accompanied by other things). 

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).

Thanks for having me! To honour the week, I’m going to have to pick one of Paul McCartney’s finest…You Never Give Me Your Money

____________

                                              Follow Roxanne de Bastion                                             

Official:

http://www.roxannedebastion.com/

Facebook:

https://www.facebook.com/Roxannedebastion/

Twitter:

https://twitter.com/roxannemusic

Instagram:

https://www.instagram.com/roxannemusic/

Spotify:

https://open.spotify.com/artist/4v5zVxcZ4cjrcHDPbzaUG6

SoundCloud:

https://soundcloud.com/roxanne-de-bastion

YouTube:

https://www.youtube.com/channel/UCt7_SjYMYipAapOifHOoHgA

INTERVIEW: J.R. Harbidge

INTERVIEW:

J.R. Harbidge

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THE excellent J.R. Harbidge…

has provided a detailed interview where he discusses his latest single, Turn the Screw, and what we can expect from his forthcoming album, First Ray of Light. I ask which artists inspire him and what sort of music he reacts to strongest – he provides the names of some upcoming musicians worth some time.

I was keen to know whether we can expect to see Harbidge touring and whether he has a favourite memory from music; which three albums are most important to him; if he gets time to chill away from the demands of a songwriter – he ends the interview with a fantastic song.

____________

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

Hi, M.M. - thanks for having me. My week, as always, has been hectic: I never seem to have the time to catch up on anything. I’m sure it’s like that for millions of people, though. My most musical moment this week was trying out some new material at Spiritual Records open mic night in Camden. It went well. A lot of people listened intently and the new track, Sunshine Not Rain, went down really well.

Had some great feedback. 

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

Somebody once said to me: “Your music is Folk/Americana/Roots/Country/Rock and commercial without being commercial”. I quite like that. It ticks all of my boxes! I would say, if you like Bob Dylan, Ryan Adams; The Band, Crosby, Stills, Nash & Young; Jackson Browne and the Eagles, then you will like my music. 

Other than that, I have been in music all my life. I started playing guitar at nine after seeing Iron Maiden on Top of the Pops. I played my first gig at fourteen and I have been on the treadmill of writing, gigging and recording ever since. 

Turn the Screw is your debut single. Can you reveal the story and how the song came together?

Turn the Screw was my reaction to the financial crisis a few years ago and how we shouldn’t trust an institution just because it’s an institution. The song also touches on the repercussions of the crisis. How everything is too expensive - it’s becoming impossible for many people to just exist. A bit depressing, really. 

The album, First Ray of Light, is out in October. What sort of themes and stories influence the music?

I think the albums underlying message is hope and positivity; however, a lot of the songs have their genesis in depression, anxiety; loss and there are a few political themes also. 

There are a couple of songs I haven’t really talked about yet in interviews so I’d like to cover them. There is a song called Something to Hide. It’s, essentially, about the idea of having an affair or doing something behind someone’s back that you know would really hurt them and trying to live with the secret – and, before you ask, it’s not about me; it’s a coming together of experiences gleaned from people I know. 

Another song I haven't really talked about is Have Mercy. It’s the only co-write on the album. I wanted to write a song that sounded old, like a trad. Folk song. This was my best effort at that. A lot of the bigger songs on the album, like When You Don’t Love Your Man, and A Side of You That Cares are rooted in depression and how someone on the outside of that disease sees and handles it. Learn to Love the Rain is about loss and how that can really affect your day to day life and the struggle to cope with such an enormous thing.  

Is there a song from the album that stands as a personal favourite?

Each song has been a favourite at some point during the process but I always go back to A Side of You That Cares. It’s unusual in the way that the song builds and then just drops right down when you are expecting it to take off. It’s quite a long song but the instrumental middle eight is probably my favourite part of any song I’ve written. 

What was it like working with producer Gavin Monaghan? Did you learn a lot?

I worked with Gav a few times over the years - not on this record but on a lot of other projects. He was my first real introduction to the art of recording. I learned a hell of a lot just watching him work. I used to ask him question after question whilst he was mixing a song. I’m sure it drove him mad but he’s such a nice guy he answered all of them. 

I took most of what I learned into the studio when I started recording this album. 

I get the impression that classic Folk artists like Neil Young and Bob Dylan are big heroes. Who did you grow up listening to?

Yes. You’re right. 

There were three records on constant rotation in our house when I was growing up: Deja Vu by Crosby, Stills, Nash & Young; Paranoid by Black Sabbath and The Beatles ‘best of’. I would say they were played heavily. Neil Young’s Harvest and After the Gold Rush wad also played a lot in the house. So, I was bombarded with melody and harmony from day one..and that’s what I try to put into my songs. 

Which musicians did you grow up listening to? Who do you count as idols?

My first musical obsession was IRON MAIDEN. They were the band that made me want to pick up a guitar, so Dave Murray was my first guitar hero. Then, I moved on to Led Zep, Deep Purple; Rainbow and idolised Page and Blackmore. C.S.N.&Y. were my other childhood obsession. I have every record C.S.N. or any member has put out and I’ve read everything there is to read about them. Love C.S.N.  

Since 2001, however, Ryan Adams has been my main musical obsession. I first heard Rescue Blues whilst waiting for an old girlfriend to come home from university; sitting in my little V.W. van in heavy rain.  As soon as I heard that song, it triggered something inside - just like Iron Maiden had years earlier. 

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

Realistically and musically, I would love my music to be being listened to by more and more people and I would love to see more and more people coming to live shows. I am hoping that I can at least touch the U.K. Americana chart with the album. Just getting into the chart at the bottom can open up a lot of doors and help prolong my music career. 

Personally, I just want to be happy and for my family and friends to be happy. Not a lot to ask really. 

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

I have been playing, gigging and recording for more years than I care to reveal, so there have been many moments…

A band I was in at the end of the '90s sold out Ronnie Scott’s in Birmingham. That was an achievement. I am very proud of the album I released with my last band, Third Bullet (Revelations Revisited). We also had a song licensed to a Harley Davidson commercial from that album. More recently, I recorded two singles at Abbey Road. That was on my bucket list. I recently found out Paul McCartney was in Studio 3 whilst we were in The Gatehouse studio. O.M.G.! 

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

This is a tough one because tomorrow they could be three different albums. 

I guess the first would have to be Iron Maiden - Seventh Son of a Seventh Son

Simply because, if I hadn’t heard that album, I would never have picked up a guitar. 

Crosby, Stills, Nash & Young - Déjà Vu would be my second choice

It’s a masterclass in songwriting. I love every track. Each writer’s songs are so uniquely their own but they all sit so well together on one album. The harmonies are out of this world and each song is rich in melody. I could go on for hours about this album. 

I am going to throw a curve ball album in here. It’s by a band that never got the recognition it deserved but I still play it to this day. The band was Montrose Avenue and the album was Thirty Days Out

I think it was released around '98. As soon as I heard the first single, She’s Looking for Me, I was a fan and saw them at The Foundry in Birmingham. They were a modern-day C.S.N.&Y. Every song on that album is a gem. I only wish they had l stayed together and recorded another. I think one guitarist ended up being the second guitarist in Stereophonics and the drummer, I believe, is a presenter on BBC Radio 6 Music. 

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

It has to be Ryan Adams and my rider would be whiskey, water; cowboy boots, a couple of dancing girls; a white limo, some drugs; a record player, clean underwear and a salami.  

Can we see you on tour soon? What dates are coming up?

I am just about to confirm/announce a Cafe Nero tour (no white limos on that rider). The launch gig/party is on 5th October at The Malt (Shovel) Aston-on-Trent, Derbyshire. I will be announcing some record store dates soon.

The full band tour will be later in the year.

What advice would you give to new artists coming through?

Don’t follow trends: be who you are and write songs that are true to you. Don’t try and be the next Little Mix or whoever it is you like. Listen to people who know what they are talking about. When you are young you ‘know’ everything but you really don’t - so take advice. It might be advice you don’t like but it could be the advice you need. 

IN THIS PHOTO: Nicki Bluhm

Are there any new artists you recommend we check out?

I love the first record by Bennett Wilson Poole. That’s a great album. It ticks a lot of boxes for me: Harmonies, melody and great musicianship. I also absolutely love Nicki Bluhm and Courtney Marie Andrews - not strictly new but they will be new to a list of people in the U.K. Going down a Rock road; I REALLY, REALLY love the debut from Wayward Sons. I saw them at download and they were amazing. I am also loving Jade Bird. I don’t think she has much out yet but what I have seen of her she is an awesome talent - and so young. Well jel. 

IN THIS PHOTO: Jade Bird/PHOTO CREDIT: Phoebe Fox

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

Music is the thing I do to unwind…and sleeping and drinking ale. 

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).

Ok. Sounds cool. You can play On & On by the Longpigs. When I first heard this song it made me cry. It’s in my top-three songs of all time. The album is one of the best debut albums of all time for me

____________

Follow J.R. Harbidge

Official:

http://www.jrharbidge.com/

Facebook:

https://www.facebook.com/jrharbidge

Twitter:

https://twitter.com/j_r_harbidge

Instagram:

https://www.instagram.com/j_r_harbidge/

Spotify:

https://open.spotify.com/artist/4aJbeZxUxztWtELCgtSwc4

INTERVIEW: Telehope

INTERVIEW:

Telehope

___________

THE guys of Telehope…

have been telling me about their new album, Hello to the Now. I ask whether they have standout cuts from the record and what sort of themes influenced the music; when they are got together and started making music; what the music scene is like in Ohio – they give the names of new artists worth following.

I ask the guys whether they have any dates coming up and what their favourite memories (from their career) are; the sort of music they grew up listening to; what advice they would give artists emerging – they tell me whether any U.K. shows are a possibility.  

____________

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

We’ve been working nonstop on our live show/visual production for our album release show in Cincy on 8/10, so it’s been insanely busy! We’re pumped, though, that the album is out and people are streaming Hello to the Now!

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

Mark Brad is our professional whistler; Adolph Goetz is the knife-juggler; Nate Trammel hits things and Ben just shakes a tambourine! (Really, though; Mark is the singer; Adolph is our guitarist; Nate is our drummer and Ben is the keyboardist).

How did Telehope find one another?

Ben: I was at a Walmart Supercenter before Easter of 2014 and mistakenly put Adolph in my cart thinking he was a giant chocolate bunny. When he hopped away, I knew I’d made a dreadful mistake.

The band has been through a lot of reforming over the past few years but Ben and Adolph have been friends for close to ten years! Mark and Nate are distant cousins so they probably met at an awkward family-reunion backyard-B.B.Q.

Do you remember the first time you all played together?

Our first concert as Telehope was a sold-out night for our Chasing Dreams Album Release show. It was one of the most incredible nights of Telehope so far. We’re working relentlessly to make this Hello to the Now Album Release a sold-out show as well!

Are there origins and stories behind the songs on your album, Hello to the Now? Do you each have a standout pick from the collection?

Mark: Every song on the album is written about a specific person and circumstance in our lives. Most of our songs tell a story of a struggle with depression or anxiety and how to combat those lies. My faves are Younger and Swan Song!

Adolph: Like Mark said, each song has a very specific origin, story and purpose. My two favorites are probably Calling Your Name and Younger.

The band is based out of Ohio. Is there a good music scene where you are?

Adolph: The Cincinnati music scene is full of incredible artists! We try to make it to as many local shows as we can. We love sharing this scene with artists like PUBLIC, Daniel in Stereo; Circle It, Harbour; Coastal Club, Moonbeau, and many more.

Ben: We’re fortunate to have many great venues geared towards local artists here in Cincinnati. I think the scene here is thriving because of so many artists working 24/7. There’s a great community of bands here and it exists because of how much we all care about music and about helping each other reach our goals.

Your music has featured on T.V. shows and gathered great press. How does it make you feel gaining that sort of acclaim and coverage?

Watching a national T.V. show with our song playing in the background is surreal to us. We’ve been working so hard, and for someone else to believe in our music enough to put in on the air like that feels so great.

Which artists did you idolise growing up? Did you experience lots of music as youngsters?

Mark: I grew up in a very musical family, so we listened to a lot of music when I was growing up! I really enjoyed listening to '70s and '80s music growing up like Boston, Styx and Kansas.

Adolph: There was always lots of music in the house, but it wasn’t until discovering Relient K that I fell in love with music and wanted to learn to play guitar. Adam Hann of The 1975 was a big influence of mine and I dream of playing like Mateus Asato someday.

Ben: I didn’t start listening to music until I was about thirteen-years-old! Owl City is what inspired me to start producing and writing music. I fell in love with expressing my thoughts and emotions through music and it’s a feeling like no other.

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

We want to have one-million total streams on Spotify. We’re over halfway there! Another big one is being support for a national band on tour, such as COIN or Twenty One Pilots. We want to travel, meet people and share hope with people.

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

Mark: Our album release show for Chasing Dreams. We sold out Madison Live, a local venue here in Cincinnati (Ohio). It’s always been a dream of mine to be able to pursue music as a career - and that show was the start of this crazy journey.

Adolph: One of my favorite memories was definitely having the opportunity to open for COIN here in Cincinnati. COIN is one of our all-time favorite bands and the crowd seemed to love us.  It was great to get to know those guys a little and share the stage with a band that has had so much influence in our lives.

Ben: Definitely when we opened for COIN in Cincinnati. That was a dream come true and where things started to seem a little more real to me.

What advice would you give to new artists coming through?

Ben: If you’re serious about music, question everything: “Should we play this show opportunity? Why am I posting this picture on Instagram? What’s the goal of releasing this music? Why are we doing what we’re doing?” I believe figuring out why your music exists is a crucial part of your career. For Telehope, our music exists to tell our listeners that there are struggles in this life but that there’s always hope. Also, don’t get stuck playing the same venue, the same shows and the same music for too long. You can saturate your local scene and your fans will start not showing up.

Make a big deal out of EVERYTHING. Putting on a show? Make it seem like a huge deal. Releasing a song? Hype up your fans and tell them how much you believe in it. I could talk for hours about this because we’ve learned a lot since our first band in 2013.

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

August 10th at Madison Theater in Covington KY/Cincinnati OH at 7:30 P.M.! This is the biggest show we’ve ever put on: we have more production and crew than ever before and it’s going to be an amazing experience.

Do you think you’ll come to the U.K. and perform? Do you like British music?

Ben: I’ve always been a fan of One Direction…does that count? We absolutely want to come to the U.K. We have some fans over there and would love to meet them and build an even bigger following!

 IN THIS PHOTO: Coastal Club

Are there any new artists you recommend we check out?

Coastal Club, The WLDLFE; PHANGS and the The New Schematics are all dope!

IN THIS PHOTO: The WLDLFE

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

We don’t take too much time off (we should probably work on that) but we know we’re where we’re at because of how hard and relentlessly we’ve been working. We are Chicken Tender connoisseurs, going to every possible restaurant around town finding the best! We love kicker around a soccer ball, Fortnite and drinking LaCroix!

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).

Thanks so much for the questions. We love having a chance to get some of our thoughts out like this!

Adolph: Yours - Daniel in Stereo

Ben: Risk by Circle It. We love those guys!

____________

Follow Telehope

Official:

https://www.telehopeband.com/

Facebook:

https://www.facebook.com/telehopeband/

Twitter:

https://twitter.com/TelehopeBand

Instagram:

https://www.instagram.com/telehopeband/

Spotify:

https://open.spotify.com/artist/5cN9JUcmWKhbR3kM2mWIge

YouTube:

https://www.youtube.com/channel/UCZcZFQbhQzwGz0zxoMngISw