INTERVIEW: Isak Danielson

INTERVIEW:

Isak Danielson

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THE first interview of this weekend…

is with the fantastic Isak Danielson. I have been speaking with him about the new single, Always, and what its story is. The songwriter reveals whether there is going to be more material coming; how he gets that arresting and incredible voice; what it feels like getting big press plaudit and attention – he selects a new artist to watch.

I ask Danielson which artists have been instrumental regarding his music; the three albums he holds dearest; whether there are going to be tour dates; if he gets time to chill away from his career – he chooses a Beatles classic to end the interview with.

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

I’m very well, thanks. It’s been good; on my way back home from Stockholm at the moment - where I’ve been finishing some final details on the album and rehearsing with my band.

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

My music comes from my heart so, lyrically and production-wise, depends on what I’m feeling at the time I made the record. The genre is Soul/Pop. I think the best way to explain it is that it’s mood music: if you’re in the right mood for my kind of music it fits well.

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

It’s about a beautiful girl who got my attention but didn’t give me any back. Sadness is what inspires me the most and, if you listen to the song, it may seem happy but the story is quite sad. 

Your voice has a very deep and arresting quality! Did that come naturally? Do you have to work hard on your voice?!

Thank you! I don’t work hard on my voice. I think I’ve been inspired by many great singers and tried to copy and then ended up with a mix...if that makes any sense? 

Is there going to be more material next year? How far ahead are you looking?

I like to live in the now, so I don't look too far into the future - but, there is a third single coming in September and an album in October. I also have about four new songs for the second album.

You have gained a lot of success so far. Do all the plaudits and great reviews give you the drive to keep going and know that your work is resonating?!

It does! But, I have a big ego that needs to be fed and I’m never happy about things for too long, so I always need something new and something bigger. Hehe. So, most of the plaudits and reviews brush off quite quickly. 

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

When it comes to songwriting, I’m inspired by Amy Winehouse, Sia; Diane Warren and Sam Smith to name a few.

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

To release my debut album and be proud of it; that the people who will hear will be inspired and listen to the lyrics on every song. I also hope to meet some of the people from social media who have supported and inspired me to make the album. 

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

Hard question. I think singing to Leona Lewis and hearing her tell me she loved me has definitely stuck. 

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

Little Girl Blue - Nina Simone

Because Nina Simone is a big inspiration and to me someone who has made history in more ways than just her music.

The Best Of  - Monica Zetterlund

Monica Zetterlund was a Swedish Jazz singer and, after hearing her song Sakta Vi Går Genom Stan, it was the first time I knew I wanted to sing.                                       

These Streets - Paolo Nutini

This is just one of my favourite albums; not one bad song. Also, I have great memories with this album. 

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

A dream would be to go on tour with Adele.

My rider would be loads of vegan food, fruit; vegetables and champagne (smiles).

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

I am playing two shows in Sweden in August - Gothenburg and Stockholm. I’m also coming to L.A. in October where I will do a showcase (also in New York after that). 

What advice would you give to new artists coming through?

To stay true to what you like and what you feel but also let yourself be inspired by the people around you. You also have to believe in yourself to a 100%; that you’re the best at what you do and never give up!

IN THIS PHOTO: Léon/PHOTO CREDIT: Sandra Viktoria Thorsso

Are there any new artists you recommend we check out?

Léon is a girl from Sweden who is doing well. If you haven’t heard I think you should definitely check her out.

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

I spend time with my dogs and chickens. I also live close to the ocean. Nature really calms me down, so that's a good thing. I don’t think I ever unwind 100%, though... (Smiles).

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

Play Blackbird by The Beatles. Love that song!

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Follow Isak Daneison

Official:

http://isakdanielson.com/

Twitter:

https://twitter.com/isakdanielson

Facebook:

https://www.facebook.com/IsakDanielsonOfficial/

Instagram:

https://www.instagram.com/isakdanielson/

SoundCloud:

https://soundcloud.com/isakdanielson

YouTube:

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

Spotify:

https://open.spotify.com/artist/5ie2SvXgvXlTpyqkwLtSd7

FEATURE: The August Playlist: Vol. 2: One Man’s Ceiling Is About to Collapse

FEATURE:

 

The August Playlist

 IN THIS PHOTO: Paul Simon 

Vol. 2: One Man’s Ceiling Is About to Collapse

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IT is not every week…

IN THIS PHOTO: Aphex Twin

where you get a new song from Aphex Twin and Paul Simon! Simon’s, to be fair, is a reworking on one of his classic cuts – Aphex Twin has released a pretty intense and hard-hitting song. Other offerings from Mitski, Jake Shears; Cher and Slaves keep it pretty varied and interesting!

If you need a cheer away from the rain and some songs to get the spirits lifted; have a listen to the collection of the week’s cuts and I am sure you will find something to love. It is not as heavy-hitting as previous weeks but, when you have Paul Simon and Aphex Twin together, you are not going to go far wrong!

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

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Aphex Twin – T69 Collapse

Paul Simon – One Man’s Ceiling Is Another Man’s Floor

Slaves – Photo Opportunity

Wild Nothing – Shallow Water

Matt Corby – No Ordinary Life

The Joy Formidable – The Wrong Side

The Breeders – Nervous Mary

Mitski – Two Slow Dancers

Ben Khan – monsoon daydream

PHOTO CREDIT: Greg Gorman

Jake Shears – Big Bushy Mustache

PHOTO CREDIT: Matthieu Venot/GQ

Tyler, The Creator – See You Again

Troye Sivan – Animal

Michael Jackson – Behind the Mask

Superorganism - The Prawn Song

John Grant – Love Is Magic

MØ, Diplo - Sun in Our Eyes

Emma Blackery - Take Me Out

Jessie Reyez – Sola

Elle King – Shame

PHOTO CREDIT: Filmawi

RAY BLK – Run Run

She Drew the Gun – Resister

The Coral – Reaching Out for a Friend

PHOTO CREDIT: Monika Mogi

Jerry Paper – Grey Area

PHOTO CREDIT: Elliot Kennedy for Crack

Stefflon Don, Tiggs Da Author – Pretty Girl

Nadia Rose – On Top

Sabrina Claudio – Numb

Arctic Lake – Night Cries

Nina Nesbitt – Loyal to Me

RuthAnne – Liquid

You Me at Six – I O U

India Lake – Girl in New York City

Cher – Gimme! Gimme! Gimme! (A Man After Midnight)

Jetta – Fool

PHOTO CREDIT: Andy Hughes Photography

Miles Kane – Cold Light of the Day

Anteros – Call Your Mother

Chantel Jeffries (ft. BlocBoy JB) – Better

TRACK REVIEW: Gypsyfingers - Hey Maria

TRACK REVIEW:

 

Gypsyfingers

PHOTO CREDIT: Deana Lowe

Hey Maria

9.5/10

The track, Hey Maria, is available via:

https://open.spotify.com/track/6sKEfavhbgTKXegskGvySG?platform=hootsuite

GENRES:

Cinematic Folk; Pop

ORIGIN:

London, U.K.

RELEASE DATE:

10th August, 2018

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ON this outing…

PHOTO CREDIT: Julien Weber

I get to look at a few different, interesting things. I wanted to look at song derivation and how the most compelling and passionate tracks can stem from something quite humble and romantic. I also want to look at artists whose live performances redefine that experience and make me, and many others, want to go. I will also look at the recording process and the final process – how we often get caught in this assumption all modern music is digital and soulless. I will then finish by looking at Gypsyfingers’ sound and why we need to see more of it in music – a look at the band and where they will head from here. The guys act as a fully-fledged band but the core is, and always has been, Victoria Coghlan and Luke Oldfield. Pat Kenneally and Simon Hedges are new to the ranks and elevate the sound - and help bring magic to the studio and stage. I mentioned the changes in the Gypsyfingers ranks the last time I reviewed them so, on this outing, I will address other themes. We all listen to music and digest it but I wonder whether we truly ask where the story comes from and get an impression of its creation. I review tracks all the time and interview artists so I get a first-hand exposure to where the songs stem – I always ask artists during interviews where the inspiration comes from. Music is growing and always-busy so I feel it is getting harder to stop and absorb a song. We listen to what is out there and, if the artist is engrossing and makes you stop, you might ask where the lyrics and music come from. Most of the time, we listen to music and let it absorb into the skin without realising how it all came to be. In the case of Hey Maria and its beauty; I was interested to know where the lyrics arrived from and what its background in.

Without going into the full story; it is inspired by Maria, a friend of Coghlan’s, whom she met in Paris. Coghlan was in a taxi, at 3 A.M., and sitting next to Victoria. It came to pass they lived in the same street (in Montmartre) and a long friendship ensued. They spent the summer sunbathing and enjoyed road trips to the South of France. It may seem idyllic and a bit envy-provoking but Hey Maria was written by Coghlan when she was on the beach in Cannes. That, in itself, sounds like the start of a film and I wonder whether the band might expand on that inspiration for their own feature. It seems like the best songs always have some unique and deep beginning. I can imagine Gypsyfingers making a bit of a film around Hey Maria and that friendship: the late-night ride and the long summer in the sun. Even before I heard a note and listened carefully to the song; I was picking apart the story and envisioning what was happening. I have spent years assessing songs and a few of them remain in the mind and keep me coming back. That might sound severe but there is so much music out there it can be hard to get a grip and let it all remain. This song, by Gypsyfingers, is one that has remained in the brain and seeped into my consciousness. I feel, if we look at where songs begin and their stories, it gives us a much deeper and more extraordinary connection. Hey Maria is about friendship and summertime; letting go and moving on. If anything, the song marks a departure and move from the band (a duo, technically, but the band plays live). It is the first proper Pop song from Gypsyfingers and, as I shall explain later, breaks from their established and incredible sound. I feel Hey Maria is the representation of where the guys are heading and what their new sound is all about.

PHOTO CREDIT: @sallystage

I do not get to see live music that often – I get invited all the time but am busy writing – but, when I do, you always get a different experience. Great artists can embrace and capture you on the page and their recorded music makes you feel one way. When you go and see that live, there is something different that you were not expecting. Some say the best artists can make their live music sound as good as the record but I feel there needs to be a split between the studio and stage. I have not seen Gypsyfingers take to the stage but I have watched videos of them perform live and seen plenty of reviews. Their recorded material is exceptional but it is the harmonies and layers you get on the stage that blow you away. The fact that they have formed into a live band – brought in more instruments and fleshed out their dynamic – makes the experience a little different but it is still exceptional. If anything, there is more adventure and strength than before. Although the full band has an incredible connection; it is the partnership and understanding between Coghlan and Oldfield that makes their live shows so beautiful. The two are in a relationship – so that makes things more convincing and stronger – but that does not always mean the music will be committed and strong. Listen to the two on stage and there is an understanding and sense of the mesmeric that is hard to shift. People have celebrated the Gypsyfingers live show and noted how memorable it is. You get brilliant and heart-breaking acoustics and Coghlan’s voice shimmering, shivering and buckling the knees. There is the incredible musicianship and the band all in-line and on the same page. It is atmospheric and dramatic; it is scintillating and swims in the brain. Although I do not get out and see artists play; I am compelled to see Gypsyfingers play and see what they are all about.

I will move to a different subject but I feel we often undervalue live performances and do not really place huge importance on them. Maybe we are all too busy to get out there and see gigs but you only get one side of the coin when it comes to recorded material. In the case of Hey Maria; it is a song that has a true story and sound but will become a new beast when it is translated onto the stage. Music is about the stage and studio – you cannot get a full impression from one side. Artists rely on finance from performances and gigs are a crucial aspect of modern music. I feel we all need to get out there a lot more and enjoy the fantastic musicians that are playing. Gypsyfingers are among the best live acts out there because of the experience and expertise you get from the friends. There may be new members in ranks but they have settled into the fold and you get a real sense of belonging and togetherness. Maybe it is that core of Coghlan and Oldfield that makes the sparks fly. Their older music and new sounds blend beautifully and you get an evocative and sensual night that stays in the memory for a long time. I often get a bit sceptical about gigs and whether they can equal expectations. In the case of Gypsyfingers, they have a great reputation and are a definite must-not-miss! I am excited to see where the band goes and where they can bring their music. So far, they have performed around the U.K. and Europe but I feel there is a lot more to come. There is great potential to explore the U.S. and put together a road movie. The guys could bring their songs to life in a visual sense and, perhaps, do little introduction films to each – that would then transition to the live performance. There is great romance and strength in what they do and I would love to see that travel the globe. Maybe Asia and Australia await them. I feel next year is one where they can spread their name far and wide and amass even more fans.

PHOTO CREDIT: Sally Low

I have looked at the inspiration for songs and the stage: I have missed out the middle bit and the actual recording process. The reason I am taking a forensic and mechanical approach to their songwriting and music is that of the detail that goes into it. We often look at music and feel there is a slightly overproduced and soulless quality to it. I am not often compelled to look at music derivation and the stage performance; how it comes to life in the studio and the equipment used. I know Luke because he is a skilled producer and has worked with some fantastic artists. His old man is Mike Oldfield so there is that history and musical genius in the family. The Hammond organ and techniques used to record the song have a retro feel. The guys have a love of the 1960s and 1970s and bring a flavour of that to the recording. The drum and bass lines were recorded live to tape with a guide vocal and guitar lone. The song’s sound reflects a get-up-and-go-attitude and the sunshine of France. Coghlan wants the listener to draw their own conclusions from the song but you can definitely hear that distinct story and brilliance of the time. I mentioned how past efforts were recorded by the duo and that was all there was – they have recruited a band and now have a fuller sound. When it comes to Hey Maria; this was a band effort where they recorded live at Tilehouse Studios. Drums by Kenneally and bass from Hedges were complimented by Oldfield’s electric guitar and Coghlan’s acoustic guitar and vocals. The guys did eight takes and they agreed the seventh take was the best. I love the studio and seeing how songs come to be.

PHOTO CREDIT: Sally Low

Many artists do multiple takes to see if different nuance and life can be detected (on each take). Rarely do you get one-take cuts and that is what we hear on record. I can imagine the four of them running through the song and trying different angles on each take. After the session was complete; Oldfield transferred it to digital by recording the outputs of the tape machine onto ProTools. He edited and they continued recording. The drums were recorded with three microphones (overhead, kick and snare) and you get organic and original takes on Hey Maria. The guide acoustic guitar was re-recorded and classical guitar, percussion and backing vocals were added – Hammond organ (from Kenneally) was injected and gives the song a summery feel. The tape machine at the studio is a two-inch, sixteen-track Studer A800 and is one of the best-sounding analogue tape machines. You get tape compression and the tape gets saturated and the audio gets subtly fattened. That detail and love of recording live means the band are closer and improve and that translate onto the stage. I feel, if we know more about how a song is recorded and its components, that gives us a much better understanding of music and its derivation. It is almost like food: if we know where it comes from then we are more informed and more connected. It sounds strange but I feel knowing about the tape machine and microphones gives the music itself more physicality, soul and picture – it is almost like I am in the studio with them. I am a big fan of analogue and feel music has become too digitised and technology-based. Artists are keen to use fancy equipment and not try and get that live-sounding music to the people. A lot of music is very plastic and lacks any real depth and complexity. Oldfield, as a producer, knows how important it is getting the best from an artist and how to do that. His dual role as producer-musician makes Gypsyfingers gives the band new layers and skills. I love the workings and activities you get from a studio and what happens there. We listen to music and never really picture how the pieces came to be and how many takes were laid.

I want to look at Hey Maria and describe it as best I can but, before then, a look at the Gypsyfingers sound. I have followed them for years and, on previous efforts, noted how they blend Folk with Pop. In fact, on albums like Circus Life, they bring in Rap, Hip-Hop and all sorts of colours. That album was four years ago – at a time when they were a duo – and I wonder whether next year will see another record. They are working on new stuff all the time and it is exciting seeing where the band is headed. They still have the gorgeous and smooth Folk sounds but their latest cut has more summertime Pop. In fact, I will include Gypsyfingers on an all-female list in the future. That may sound strange (as there are three blokes in the band) but the lead vocal is from Coghlan. She has the ability to transcend place and time and bring the listener into the song. Like all great vocalists; she has exceptional range and nuance; textures and emotional depths few others possess. I am a fan of what she does and feel she has a lot to offer in the future. One of the reasons I have been a fan of the group for years is because of that instant ability to buckle the knees and stop you in your tracks. The band is in a great position and is expanding their sonic locker to take to the road. I love the earlier sounds of Gypsyfingers but feel bringing in Pop and other genres give them a more rounded aesthetic and options when they take to the stage. The guys take great care to ensure each stage of the recording process is given as much passion and attention as possible. The stories behind the songs come from a real place; the recording is detailed but has plenty of looseness and experimentation; the live performance tops all of that off and brings a fresh angle to the music. The complete experience is something many cannot offer and I feel that is why the band has enjoyed big acclaim and celebration. They are in-demand as a live band and they have a glorious future ahead of them!

PHOTO CREDIT: Sally Low

I am used to hearing the acoustic guitar and pastoral sounds coming from a Gypsyfingers song. Usually, I am in a distinct frame of mind and know what is coming. Hey Maria subverts those views and brings in crackling energy and force. The percussion comes in strong but not too heavy; there is a balance between 1960s Pop and something based in the U.S. You get sunshine breeze and a coolness that makes you smile and imagine. Knowing the song has its heart in France; I was, instead, in the U.S. and down a Californian road. It has that old-time feel and great production that gets the mind working right from the get-go. One gets kicking and funky guitar and genre suggestions ranging from Blues and Country to 1970s Pop and 1960s soulfulness. It is a rich and heady brew that goes into that introduction. The heroine’s voice comes in and talks about lying in the sun with one eye open. Almost squinting against the force and heat of the day; you cannot help but be there with her (in a non-perverted way!) and imagine the sights. I have always loved Coghlan’s voice and it has been compared to Lily Allen and Kate Nash by some. You hear a distinct accent and grounded quality to the voice but, since the earliest days, it has gained more beauty, qualities and emotions. It is a great instrument that ranges from London-tuned to classical. You are stunned by the character and cadence of the vocal and how it holds your hand. The band kick up a smoke of sunshine, glee and romance and your mind is divided between the busy and connected background the vocal that tells the story. The heroine is lying on a beach and enjoying the sun but wants to adventure with Maria and walk with her. In many ways, I get impressions of childhood and innocent friends gambling to the woods and embracing silliness.

PHOTO CREDIT: Spencer Hudson

Rather than see the song as a French romance (in terms of friendship); there is more of the playfulness of childhood and meeting someone who is the same as you. Not many of us experience such vivid friendships as adults: those childhood memories and times are more precious and long-lasting. Coghlan seems deeply involved with the subject matter and fondly recalls that first blush of new connection. When the chorus comes in, there are backing vocals from Oldfield and new depths. Previous Gypsyfingers songs have been calm and emotive but here, on their latest release, energy and spark. The electric guitar has a breeziness and Blues-like lick that gives the song kick; you have a band kinetic and connected and really committed to the song. Whilst the boys summon the backing and drive the vocals forward; I am always drawn to that centre and the incredible story. Our heroine is glad she met Maria and there is that instant bond. The sheer luck of that meeting has not been lost on the lead. She is grateful for that encounter and knows how special it is. Rather than waste the moment and get too carried away, she is looking ahead and knows this friendship will last for a long time. I know the song’s history but I still keep coming back to something younger and more childlike. Hey Maria is a fantastic cut but not limited to a particular time and place: one can get their own impression and interpretation from the track. I love the composition and how many different phases there are. The organ adds a really great scent and the entire band put in a fantastic performance. Everything fits together supremely but there is a sense of the open and loose. The song is never too tight and studied: the band is free to stretch a bit and you get a few solos here and there. What strikes me is the sunshine and smiles that never seems to abate. So many modern songs have a scowl and there is something sad underneath. No such (bad) luck here! Hey Maria is a winner and enlivened figure from the very start and never loses that alacrity. Until the final notes, the listener is put in a better frame of mind and boosted by the song. I have my viewpoint of the song but I know others will have their opinions. Hey Maria is a song you keep coming back to. The rush is hard to overlook and it is nice to hear a song that is positive and has a happy story. I understand bands who want to project something hard-hitting and emotive but that does not mean you need to be forlorn and depressive – adding something bright and warm can do so much more for the listener! Hey Maria is a fantastic offering from a band who are getting stronger with every release. I am excited to see where they head and what they can achieve in the coming year. Make sure you follow their progress and catch them on the road if you get the chance – and the chance to hear Hey Maria take on a different guise and quality.

PHOTO CREDIT: Spencer Hudson

I have talked about Gypsyfingers and how they have changed through the years. That core of Victoria Coghlan and Luke Oldfield has always been there and they have that endless and rock-solid connection. Maybe that is because they are in love – I feel they have a lot of similar tastes and want the same things from the music. Each of the players wants to take their sounds around the world and remain in the industry for years to come. That will happen and, in a tough business, they stand out and how the ammunition to inspire and remain a permanent fixture. I mentioned how it would be great to see the band play across the U.S. and I know the nation would take them to heart. They could do great business in Canada and Australian dates would not be out of the question. Maybe finance will limit their ambitions but there is demand and potential out there. I have seen Gypsyfingers evolve and change but the quality has always been there and sky-high. Let me bring this down to a close but I would encourage everyone to follow the band and get behind what they are doing. The British band is a huge force and feel the next year or so will be their very best. I have watched them grow from the duo of Circus Life and lead to where they are now. The quartet is looking ahead and seeing where they can take their music. I have also mentioned how great they are live and the sort of reaction they are accruing. Hey Maria is a fantastic song and one I could not overlook. Coghlan has said she wants everyone to get their own impression and take something new from the recording. I have been given the complete story but others, listening to it without that knowledge, will go in other directions. They might see something fictional or have their mind in a different nation. It is amazing to see what each listener gets from the song.

The best tracks are those that compel different thoughts and do not reveal their true identity. Although I know where Hey Maria comes from; there is a lot more working away and more besides that taxi ride and ensuing friendship. Now that Coghlan is based back in the U.K., I wonder whether she and Maria live nearby and still keep in touch. They have a friendship but you listen to the song and are (you are) curious how things worked out. Are they still close and see one another a lot? Can we get a literal image of Maria or does she keep private? Is there going to be more material relating to that time in France and that amazing friendship? I am thankful Gypsyfingers are in the world and bringing something fresh to music. They are a band on a mission and are among the strongest out there. Maybe there will be more material before the end of this year - but I do feel next year will be their finest. I would assume an album is being worked on and I cannot wait to see what direction they head in. Maybe there will be more of the Pop direction we hear now and they will break from Folk; they might sprinkle both together and we will get the same sort of eclectic vibe as their debut. Whatever comes from the quartet; I have seen them grow and mutate from the duo and bring in new players – who have sat in the mix and bring new possibilities to the songs. I will end things here and urge people to listen to Hey Maria and get their own story and ideas. It is an incredible offering and one of the strongest from the band. It is proof they are on the rise and determined to get as far as humanly possible. If they keep on writing songs like this and putting their all into it; I feel Gypsyfingers will be a mainstream act…

PHOTO CREDIT: Julien Weber

IN next to no time!

___________

Follow Gypsyfingers

PHOTO CREDIT: Deana Lowe

Official:

https://www.gypsyfingers.com/

Twitter:

https://twitter.com/Gypsyfingers

Facebook:

https://www.facebook.com/gypsyfingers/

Instagram:

https://www.instagram.com/gypsyfingers/

SoundCloud:

https://soundcloud.com/gypsyfingers

Spotify:

https://open.spotify.com/artist/77ldPpauhUXAZGYT4abA8h

YouTube:

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

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Ghum/PHOTO CREDIT: Louise Tse 

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

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THERE are new releases out in the world…

IN THIS PHOTO: Nina Nesbitt

so it is a great day to discover some brilliant music. I am concerned with the best female-led/female-scored music out there and what variety there is (there are some slightly older songs thrown into the mix). If you feel you have a clear view of what a modern-day female singer-songwriter is all about then you need to follow these lists – and have a listen at the latest instalment. From Pop and Country through to something a bit dirtier; it is another collection of songs that will bring the sunshine back and get us in the mood for when the heat rises again. Slip into the weekend with another rundown of songs that are perfect…

IN THIS PHOTO: NINA/PHOTO CREDIT: Joakim Reimer 

WHEN holding on to the memories and warmth of summer.  

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

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PHOTO CREDIT: Ryan Watanabe Photography

Doll Skin – Rubi

PHOTO CREDIT: Katie Knight-Adams

NINA – Sleepwalking

PHOTO CREDIT: James Harris

Ellie Gowers – Flowerchild

Anteros – Call Your Mother

Starcrawler – Chicken Woman

Tygermylk – What God Would Keep Us Apart

Nina Nesbitt – Loyal to Me

Hannah Paris – Halfway Home

RuthAnne – Liquid

Gretta Ray – A View Like This

Whitney Rose – You Don’t Own Me

PHOTO CREDIT: Tim Nguyen

Jade Jackson – Salt to Sugar

Daniella Mason – Human

PHOTO CREDIT: @jondbarker

Emma Blackery – Take Me Out

Lauren Sanderson – Los Angeles

Elle King – Shame

Nadia Rose – On Top

Angie McMahon – Keeping Time                

Lucie Silvas – Kite

Cher – Gimme! Gimme! Gimme! (A Man After Midnight)

Broods – Peach

ARTWORK: Louise Tse

Ghum – I’m the Storm

VanJess – Control Me

Sahara Beck – Here We Go Again

INTERVIEW: We Are the Way for the Cosmos to Know Itself

INTERVIEW:

We Are the Way for the Cosmos to Know Itself

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GIVEN their band name…

I had to ask We Are the Way for the Cosmos to Know Itself where that stems from and whether there is a backstory! The Danish group talk about their formation and latest single, Out of Doubt. I ask what we can expect from their upcoming E.P. and what the music scene is like in Denmark.

The band recommends some new artists to watch and tell me what they hope to achieve before the end of the year; whether there are gigs coming up; how they unwind away from music – they provide some pithy, but wise, advice for artists coming through.

____________

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

Julie: Hello (smiles). We are feeling pretty good. Right now, we are in our tour-car on the way to the other end of Denmark where we will play a show tonight. Our week has been busy but great! A few days ago, we recorded a live video for our next single, Out of Doubt, and the other days we have been working on some new tracks for 2019.

It has been insanely hot in Denmark this week so we have been working in bikini and shorts in the studio and gone swimming as much as possible in Roskilde Fjord, which is very close to the little farm-house where we live and make music.

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

Mads: We are a Danish three-piece who make Electronic-Indie-Pop with a lush and cosmic feel. We are inspired by the sound of various '80s and '90s bands. At the moment, we try to mix these nostalgic vibes with more modern productions. Hopefully, creating music with a sense of nostalgia but still with a fresh and modern vibe.

Can I ask how We Are the Way for the Cosmos to Know Itself came together? Is there a story behind that name?

Julie: Martin and Mads met in primary school and has been playing together in numerous projects during the years and then they met me a couple of years ago and first then magic happened. Haha. Well, I guess you can say that we knew that we were a good team when we wrote our first track together in 2013 so we just kept on working together since then.

Mads: When starting the band, we realized we had all discovered Carl Sagan and his retro documentary series, Cosmos: A Spacetime Odyssey, sometime during physics classes in high-school and that we shared a fascination for the epic and 'over the top' mood that Carl created in the series. So, we decided to name our band after a quote from the series. The quote, “We are a way for the cosmos to know itself”, describes perfectly the epic and lush sound that we strive to create.

Out of Doubt is your latest track. What is the story behind the song?

Julie: Out of Doubt is the second single from an E.P. that will be out in October. The lyrics were written during the early morning where I took time to sit down and watch the sunrise while I wrote down all the things I was thinking of at that time; reflecting on where I was going with life. Moments like these are very important to me and I guess that a lot of people, including myself, forget to sometimes take time to stop and reflect on things in these times - where every moment tends to get filled with to-dos and impressions from So-Mes.

It is from your upcoming E.P. In terms of themes and stories; what sort of things do you explore?

Out of Doubt is, like the rest of E.P, exploring the retrospective and nostalgic. We wanted the songs to be the kind of music that brings back memories and that you put on when you feel the need to be a little reflective. The songs are about relations between different people - both the ones you still love and fight for and the ones you had to let go.

Do you recall the music you grew up around? Which artists inspired you to get into music?

Mads: Growing up in musical homes, I think all the three of us got exposed to a lot of quality Pop music such as ABBA, Kate Bush; Madonna, Cyndi Lauper and soundtracks from movies like Top Gun and Dirty Dancing. But, from a very early age, Martin and I became interested in playing music ourselves and started enjoying more experimental music.

Eventually, in high-school, we started exploring Electronic acts such as Aphex Twin, Autechre; Seefeel and μ-Zig. Right now, I think we are trying to find a sort of middle ground between lots of the sounds and experiments from our high-school time and the simple basic chord structures and melodies from Pop music. Currently, we are listening to a lot of more modern Synth-Pop such as Shura, Chvrches and I Break Horses.

Is there a pretty eclectic music scene in Denmark? How do you think the country stands out and differs from the likes of the U.K., for instance?

One thing I really like about the music scene in Denmark is that there are a lot of indie bands that focuses a lot on melodies and songwriting - not just creating a unique production around their music. There is a good tradition for basic songwriting. That leads to a lot of quality Indie-Pop music coming from Denmark.

On the other hand, Denmark is a really small country and there is only one national music radio which has a lot of power - and they basically control who gets a career in music. That is a bit discouraging at times.

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

We hope to have a great release of our upcoming singles and E.P. and play some great shows.

Do you think there will be touring dates? Where can we see you perform?

We are playing a tour in Denmark in October and November. Hopefully, we will play a tour in Germany in February as well.

Will you come to the U.K. and play this year or next?

Julie: We would love to - we just don’t have a booker in the U.K. yet.

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

Mads: We played at Roskilde Festival back in 2014 here in Denmark. That was huge for us. Being a Dane, it is one of those festivals you always wanted to be playing.

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

Julie: Tough question. If we could choose anything…we would love to support Kate Bush and have a backstage area made out of liquorice.

What advice would you give to new artists coming through?

Mads: Have fun. Buy lots of synths.

IN THIS PHOTO: Yangze/PHOTO CREDIT: Andreas Skou Albertsen

Are there any new artists you recommend we check out?

There is a lot of new good Danish music at the moment. To name a few: Yangze creates beautiful Alternative-Pop music. Molina makes awesome, retro synth vibes on her latest single, Hey Kids.

IN THIS PHOTO: Molina

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

Apart from swimming in the fjord near our house at night time, we like to eat liquorice; drink craft beer and watch sci-fi movies.

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).

Mads: Molina (ft. Late Verlane) - Hey Kids

Julie: Yangze - U & Me

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Follow We Are the Way for the Cosmos to Know Itself

Facebook:

https://www.facebook.com/Wearethewayforthecosmostoknowitself/

Instagram:

https://www.instagram.com/wearethewayforthecosmostoknow/

SoundCloud:

https://soundcloud.com/watwftctki

YouTube:

https://www.youtube.com/channel/UCEaGoDx53_pJodZA9I-Ns0w

BAND PHOTOS:

Alexander H. Jespersen

INTERVIEW: Russell Swallow

INTERVIEW:

 Russell Swallow

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RUSSELL Swallow has been speaking with me…

about his awesome single, North London Girl, and how it came together. His brilliant E.P., My Lover, Her Lover and Me, is out and I wanted to ask which artists Swallow draws from; how it feels getting a lot of radio attention and great press – he recommends some artists worth a follow.

I ask the songwriter about splitting his time between Berlin and London and whether that contributes to his sonic direction; if he gets time to unwind; the three albums that mean the most to him – he ends the interview by selecting a great song.  

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

Hi, Sam. It’s been an eventful time. I’ve been playing festivals in Hannover and Berlin and I was fortunate to work with one of my favourite contemporary artists, Ry-X, at Sacred Ground Festival. Since then, I’ve been working on new material for my next E.P. and recording a live video for my latest single, North London Girl.

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

I’m an English singer-songwriter from the Folk and Indie scene - and I use German influences, Electronic influences to add atmosphere, ambience and drama to my music. I grew up in the quiet and solitude of the Suffolk countryside, but was steadily drawn deeper into cities and their perpetual rhythm; now living between London and Berlin. My music draws on each of these places - taking inspiration from daily life, tensions and release.

North London Girl is your latest single. Is there a personal story/history to the song?

I tend to write from personal experience but N.L.G. is one of the most autobiographical and direct songs I’ve written - as direct as heartbreak can be. Still, it’s not morbid: I think it carries a certain naive innocence.

It was a breakup that inspired me to write N.L.G. and, in fact, it was the first solo song I wrote since my duo band Swallow and the Wolf. It was the beginning of bringing music back into focus at the centre of my life and starting from scratch to create a new palette of sound was a uniquely refreshing experience. Working with producer Gavin Hammond, every choice of sound and direction we took was a first step - like exploring a new Country.

Since your last E.P., you have gained a lot of love from radio stations. How does this make you feel?!

It feels really good! I want to reach as many people as possible with my music, and radio support is an important part of that. I come from a generation where radio was one of the few powerful gateways where you could reach new listeners without needing a huge P.R. budget. I was a big fan of tuning into BBC Radio 6 Music late at night, to fall upon new sounds being shared.

I want to send some big love to Tom Robinson at BBC Radio 6 Music who was the first D.J. to play my music, and to everyone who continues to.

You have spent a lot of time here and in Berlin. Does that country-splitting contribute to your sound? What are the main differences between the music of Berlin and London?

London has a very strong singer-songwriter scene, particularly on the Folk and Roots side. You can wander into a bar on most streets and find somebody strumming. Berlin has this too but, because of their club scene, they have a stronger Electronic aesthetic. They complement and inspire each other and it’s great to be able to move between the two and see them each develop.

I believe you spent twenty quid on a guitar in Suffolk during your teens! Is that the best purchase you have ever made?! What made you want to pick up a guitar?

When you’re a kid, everything is exploration, learning; making mistakes. Living in a small town felt like an isolated place to grow up, so to connect I could either pick up my bicycle to cycle to a friend’s house in the next town or pick up my guitar and get straight to the source.

It seems you are inspired by classic songwriters and the likes of Jeff Buckley. Who do you count as idols?

Yes. The artists I respect most were pioneers in some way; fusing their influences to blend something new or exploring extremes of dynamics. Jeff using his voice like Nina Simone - as an instrument - coupling it with incredibly sophisticated guitar with song arrangements that still felt effortlessly natural. Or Nirvana’s sense of melody and power - taking Heavy Metal’s attack and power but adding huge Beatles-esque Pop melodies.

When I first heard Brian Eno’s Thursday Afternoon as a kid I was blown away. A seventy-minute piece of music that explores sound for sound’s sake; creating an environment you can get lost in and journey through.

Which artists did you follow when you were growing up?

All of the above, plus Grunge-rs Pearl Jam; Rock pioneers Radiohead and a great crafter of small stories with big melodies, The Lemonheads.

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

I just released my new E.P., My Lover, Her Lover and Me, on 3rd August and am playing some tour dates through Europe to support that: London, Norwich; Berlin, Zurich; Hannover, Cologne etc. I’m looking to travel to play house concerts and some street performances as well - if anyone wants to invite me into their home or recommend good streets to explore.

I’ve written a lot this past year - it’s been an eventful time, both for me personally and for Europeans. There’s work to be done to prepare for the next record, so I’ll be making some demos and jamming with my friends (and very talented artists in their own right) Kimberly Anne and Rhiannon Mair.

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

Yes. Check the website. I’ll be adding them in as we go.

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

Miles Davis - Kind of Blue

It brought home to me how lyrical music can be using simple sound, tones and melody. No lyrics but so much emotion, dynamics and excitement.

David Bowie - Hunky Dory

I bought this on C.D. from a charity shop in Colchester and stuck it on my stereo. My girlfriend at the time wanted to go out but I couldn’t leave the house until I’d heard the whole album. It was a revelation in terms of its scope, range of styles and sheer joyful abandon. You can really feel fun and danger in that record.

John Martyn - Solid Air

Simple instrumentation; raging and fragile. There’s so much heart and beauty in this album and it has songs that you can sing to your lover, to your family or to your friends.

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

That’s a really good...and hard question! I think it would be a tour with Radiohead, Ry-X and I. We’d perform John Martyn’s Solid Air album in its entirety with extended jams incorporating synths, samples and sounds captured and manipulated live on stage from our voices and instruments. We’d have a huge light show using just white beams and cast and play with huge shadows.

What advice would you give to new artists coming through?

Keep writing. Listen to the opinions of your trusted sources...but not as much as you listen to yourself. You’ll feel unsettled, challenged and not good enough sometimes, but don’t worry. That’s a natural part of the journey and, if you choose, then all of it will drive you forward.

IN THIS PHOTO: Anna Pancaldi/PHOTO CREDIT: Curious Rose Photography

Are there any new artists you recommend we check out?

For singer-songwriters, check out Kal Lavelle, Andy Johnson and Anna Pancaldi.

For more of a Pop bent, try Kimberly Anne – or, for a Rock edge, Bryde and RUEN.

All unsigned artists with huge talent.

IN THIS PHOTO: RUEN

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

I’m effectively self-employed, so I can choose my timing to a certain extent – though, it always feels like you’re not doing enough! But, I make time to do the things I love: to cook, eat and read. Then, I can I explore places for their architecture and museums as well. I’ve been travelling through France and Belgium these last few days, so I’m getting to do all of this!

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, Sam. It’s been good fun answering your questions. If you would, please play Sam Brookes' Crazy World and You

____________

Follow Russell Swallow

 Facebook:

https://www.facebook.com/RussellSwallow/

Instagram:

https://www.instagram.com/Russell_Swallow/

Twitter:

https://twitter.com/RussellSwallow

SoundCloud:

https://soundcloud.com/russellswallow

YouTube:

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

Spotify:

https://open.spotify.com/artist/3Jqpdf1avI5UMwv4fUHbeQ

INTERVIEW: Fergus McKay & Nothing Concrete

INTERVIEW:

Fergus McKay & Nothing Concrete

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THERE is nothing ordinary and boring…

when it comes to Fergus McKay & Nothing Concrete! I have been speaking with Fergus from the group about their new single, Old Black Crow, and wondered where they head from here. I was keen to know how the band got together and whether, being based in the Pyrenees, there is an active music scene and source of inspiration.

Fergus recommends some upcoming artists and discusses whether there are any tour dates coming up; what their live set consists; the advice he would give to artists coming through – I discover why this past week or so has been especially eventful for the band!

____________

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

We’re all pretty tired from a pretty intense and eventful week on the road. We left France with a great gig at a craft beer brewery then headed to Italy and Slovenia but, on the way, stopping for petrol we found we couldn’t turn the van off - even with the key out and batteries disconnected the engine kept running. It was meant to be a fourteen-hour journey but, with one thing and another, it ended up being seventeen-hour-straight without being able to cut the motor; no air conditioning, the whole band; double bass and a disable dog in an eight-seater minivan…after driving through the night, we had two gigs in Slovenia, one of which we got held up on the motorway for three hours in non-moving traffic, so arrived an hour after our sound-check.

Then, we had three gigs at Floating Castle Festival in the south of Slovenia. It’s an amazing vibe there; a real melting pot of styles, cultures; World music, Classical; Rock, Jazz; abstract stuff, puppetry; poetry street shows and so on, all around a beautiful medieval castle in the forest. Leaving there, the alternator on the van gave up so we got towed off the motorway; had to find a replacement battery to get to where we are now while we wait to play at PUF festival in Koper near the sea.  We’re still alive and still talking to each other, so it’s good.

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

Well. It’s a mix of styles and influences: people have compared us to various acts like The Waterboys, Ronnie Lane (ex-Small Faces); Dexys Midnight Runners, Woody Guthrie; Bob Dylan and so on. There’s a big slice of Folk music from both sides of the Atlantic that form the basis of our songs but we try and bring in elements of World music, Swing; Jazz and Blues to create something unique and exciting with it all…then we are lucky enough to have three ladies who tap dance in the band, so we add that into the mix for good measure!

What can you tell me about the new single, Old Black Crow? How did it come together?

I had just read Conrad’s book, Nostromo, and I wanted to write something that captured the same kind of feeling I got from that book. It tells the story of a bunch of renegades making a getaway, but we don’t know what they did or why. I was listening to a lot to Dylan’s album, Desire, and some of my favorites of his songs take this format which isn’t the standard verse-chorus-verse-chorus, bridge; verse-chorus, but just tell a story that continues to develop. So, I decided to not write a chorus or a hook, but just let it be a story which, perhaps, makes it an odd choice for a single but we really get a good reaction to it live and we tried to give it some swing, keep it upbeat and dancy so we hope it can grab some people’s attention!

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

Well. Old Black Crow is the first song we are putting out from the new album, which is nearing completion, and the band has been evolving during recent months and we’re trying to get some of the newest ideas into the arrangements of the songs we’re playing in our live set. The album will be pretty eclectic, including a Swedish-style Polska (a traditional dance tune), a couple of rootsy numbers; something I wrote inspired by travelling around the Balkans and playing with different time signatures and some other surprises. 

The last album, Ever the Forager, had a lot of Scottish and American Folk in the blend; banjos, fiddles and mandolins. This time, I’ve been working with three saxophones, writing and arranging for baritone, tenor and alto for our live show so there’s more brass, which is leading to a slightly harder, edged and jazzier sound, which I think suits the songs that we’re putting on this album.

How did Fergus McKay & Nothing Concrete find one another? You have a pretty eclectic line-up there!

Well. I had been travelling around Europe as a traditional one-man band, like Bert from Mary Poppins, and Gaia, who’s now my wife, and I came to a party in the South of France where I played…but we met so many cool people over one weekend we decided to stay forever! Gradually, we came across more and more people with the same or similar stories. There’s something about the region that makes people want to settle there; it’s like stepping backwards in time, out of the rat-race. It’s easier to create a simple way of life there that still fulfils all our needs. 

I guess it does seem like a huge coincidence that we all ended up living within a few miles of each other in the middle of nowhere and all have complementary skills and musical interests. Have to put it down to cosmic magic, I guess!

Being based in Pyrenees (Southern France); what is the music scene like there? Is it quite an ideal and quiet spot to create and play?

The music scene is surprisingly vibrant; bearing in mind this is an area traditionally populated by small-scale subsistence farmers. In the last thirty years or so, more technology and farm machinery meant that lots of these kinds of areas became depopulated as kids of farm workers had to move to the cities and retrain to find work in industry instead of agriculture.

But, this also meant that lots of old farmhouses and small villages were abandoned so the artists moved in and, with the artists, the artisan cafés and market stalls started to grow; then the artists learn to use the land and develop their own communities and the area became rich in a new way. So, there’s a huge mix of people and nationalities here: people from every corner of the world seem to end up settling in this little huddle of ten or twelve little picturesque villages. That creates a great environment for many things, especially music; predominantly folky, rootsy and acoustic stuff, but not only. We have a couple of really nice small festivals - and people love to go out to see live music here.

Does the fact you have a few different nationalities working in the band provide the music with greater variation and flexibility, would you say? Do you find the songs take in different sounds from around the world?

Definitely. This has been one of the main musical objectives for Nothing Concrete all along: to broaden my cultural horizons and learn from the people I work with and then try and bring that into the songs. In the world of Pop, Rock or other mainstream music, the sound, instrumentation and production values are fairly generic no matter where you go in the world...but the richness of musical styles when you start to look into traditional music cultures from different countries is mind-blowing. So, when you work with musicians that have these different cultural backgrounds, it’s inevitable that some of this comes out in the music.

The more we travel as a band the more we learn from other musicians we meet en route, hence being in Slovenia right now. It’s a kind of gateway country between our Western European cultures and the musical traditions of the Balkans and Eastern Europe. The more musicians we get to play with from different cultures the more we realise how much there is to learn. It makes you feel like you’re constantly just at the start of an amazing musical journey.

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

Growing up, I listened to a lot of stuff my dad liked: Dylan, Tom Waits; Van Morrison, Paul Simon and, particularly, the Faces and Ronnie Lane. I still love that rough-and-ready feel; the sound of people having fun playing acoustic music together. Then, the Celtic stuff in the '80s, like Dexys Midnight Runners; The Waterboys and Hothouse Flowers were all doing the stuff I wanted to be doing. But, later I discovered a whole new world through the music from the Tony Gatlif film Latcho Drom. Watching that was a watershed moment; a must-see for anyone interested in music!

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

We have no U.K. dates in the diary at the moment: we’re continuing to tour in Europe until October this year and we have a number of dates in France but are planning to put together some dates for 2019. Watch this space. We always announce our tour dates on our Facebook page as soon as they’re confirmed.

What does your live set consist? Describe a typical Fergus McKay & Nothing Concrete gig…

It’s all about engaging with our public. We’re usually six on stage: three ladies, three guys. The songs are mostly upbeat with a Swing/Folk feel. Everything is very live; no technology except the P.A. system and lighting rig. We’ve brought a number of new elements into the show in recent times, including several tap dance and lindy-hop routines from the girls and, even, an appearance by Gromanich, our monster mascot! By the end, we usually aim to have everyone up on their feet dancing. I think it’s a pretty fun gig to go and see!

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

Angie: Seeing Jeff Buckley live in a small, intimate venue. It was a life-changing moment, being around such musical passion and it made me reevaluate what was important to me.

Saskia: When I was a student, I had a quite high-up studio. The weather was perfect. I could sit in the sun and a song by Funkadelic played. Perfect bliss.

Gaia: My two children love a song from Boban Marković, an amazing trumpeter from Serbia. We regularly put it full volume in the house and dance like crazy. My mum and me used to do the same with quite bad Pop, Italian music and Dance in the living room whilst rolling on the floor.

Fergus: I left the U.K. in 2009 to play pubs and busk in the street, but ended up at a Folk/World music event called etno HISTeRIA, with sixty musicians from all over the world learning tunes and songs from all these places; arranging them for an ad hoc World music orchestra who played concerts all over the country. It was nine days or so that changed my life. Incredibly intense; not much sleep but a magical, emotional experience

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

Van Morrison, almost certainly!

As for the rider...we’re pretty happy with some good, organic food (mainly vegetarian) and a beer or two - homebrew best!

What advice would you give to artists coming through?

Play lots and lots and lots of gigs, get out there and meet other musicians and learn from them; learn to live well with minimal income!

IN THIS PHOTO: Old Salt

Are there any new artists you recommend we check out?

Old Salt is a mix of Americana and World music with a fairly intercultural mix of musicians. Kate in the Kettle from Scotland; Tygroo from the Czech Republic are full-on Turbo-Folk with lots of brass; loads of attitude and an amazing live show.

IN THIS PHOTO: Kate in the Kettle

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

Music is always there but, sometimes, we’re using it to unwind. Sometimes it’s work, but home life is great; just hanging out with the kids in the garden, or camping in, the Pyrenees…or just reading a book!

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).

Fergus: The Poacher - Ronnie Lane & Slim Chance

Angie: Natalie Merchant - Kind & Generous

Gaia: Pizzicarella mia (traditional southern Italian tune) – the version by Officina Zoè

Saskia: Maceo Parker - Children’s World

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Follow Fergus McKay & Nothing Concrete

Official:

https://fjsm33.wixsite.com/fergus-mckay

Facebook:

https://www.facebook.com/nothingconcrete1

Instagram:

https://www.instagram.com/fergusmckay/

Twitter:

https://twitter.com/bandolinofergus

SoundCloud:

https://soundcloud.com/fergus-mckay

YouTube:

https://www.youtube.com/channel/UCyoW8NDbU6eG4XeUhs_4ENw

Spotify:

https://open.spotify.com/artist/3TpvO9BbsFcP0MOJAO0Cwg

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: DEVMO/PHOTO CREDIT: @_delsoul   

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

__________

STRAIGHT after I produced one list…

IN THIS PHOTO: False Advertising/PHOTO CREDIT: Chris Patmore Music Photographer

another batch of incredible female-led songs came to my ears! I have been looking through some recent releases – and a few cuts from last year - and compiled them in a handy rundown. It is always impressive discovering the sheer width and breadth of female-made music; seemingly more variation and depth than their male peers. As the rain is still lashing, and we need a bit of sun back, I thought these tracks would help bring a bit of joy. I am sure I will compile another feature/list next week but, before then, enjoy this assortment of music that is perfect for…

IN THIS PHOTO: Pinky Pinky/PHOTO CREDIT: @erina_uemura

A drizzly Thursday.  

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

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Ronika – Lose My Cool

OhHeyMy – Numb

Pussy Riot – Bad Girls

PHOTO CREDIT: Lauren Kallen 

Minke – Maybe 25

Chløë Black – Spaceman

PHOTO CREDIT: Shervin Lainez

Palehound – Room

Sophie Meiers – Something About You

CAGGIE – Here We Are Again

DEVMO – Kylie Jenner

Pinky Pinky – Margaret

Linn Koch-Emmery – Wires

PHOTO CREDIT: Stevana

Vox Somnia – Tremor

Kathryn Joseph – From When I Wake the Want Is

PHOTO CREDIT: Lizzie Coombes

Nervous Twitch – Promised Me the World

PHOTO CREDIT: Carl Farrugia

Panic Pocket – Don’t Get Me Started

PHOTO CREDIT: Matthew Attard

Cryptic Street – Let’s Go Suki

Julia Carlucci – Take Me Down

PHOTO CREDIT: Shannon Stew

Stefana Fratila – Swallowed Seeds

Ella Hooper – To the Bone

PHOTO CREDIT: Elissa Graddy

Lunar Vacation – The Basement

Tiffany Young – Over My Skin

PHOTO CREDIT: Derek Bremner Photography

The Franklys - Too Tall

Peach Club - Cherry Baby

Ms. Mohammed - Pandora

Wolf Girl - Toast for Dinner

FEATURE: The Times They Are a-Changin’ Why the BBC Radio 6 Music Schedule Shift Is Good News

FEATURE:

 

 

The Times They Are a-Changin’

IN THIS PHOTO: Mary Anne Hobbs

Why the BBC Radio 6 Music Schedule Shift Is Good News

__________

THE expected disappointment, moaning and…

IN THIS PHOTO: Shaun Keavney

confusion has greeted the news that, from the start of next year, some of the much-loved BBC Radio 6 Music presenters will change to a new slot (and that, the moaning, was just from Shaun Keaveny!). You’d imagine people had lost their jobs and had been forced to drink toilet water in order to survive! One of the only complaints I have had regarding BBC Radio 6 Music is the rigidity and the fact there have been few changes since its start. It is great to see the same personnel and there is clear brand loyalty and passion among the ranks. I am thrilled we get to wake up and, through the day, hear from D.J.s who we know will put a great show together. That is alright for a while but can be a bit samey – you are listening to the same routines and songs at the same time of day. I can imagine, for D.J.s like Shaun Keaveny and Lauren Laverne, it has got a bit familiar and safe. I know Keaveny, especially, will enjoy some extra time in bed. He moves to the 1-4 P.M. slot; Mary Anne Hobbs, who usually presents the weekend breakfast show, comes into the 10:30 A.M. to 1 P.M. slot; Lauren Laverne takes Keaveny’s show – starting half an hour later at 7:30 A.M. Chris Hawkins gets an extra half-hour in his regular slot and RadMac (Mark Radcliffe and Stuart Maconie) move to weekend breakfast (see the official BBC Radio 6 Music Twitter for all the changes and times).

IN THIS PHOTO: Lauren Laverne

Those who are used to Keaveny greeting the morning with his unique blend of suicidality and anger will adapt to him coming into a later time. Maybe he will be a brighter and changed person – delivering something more Chris Evans in terms of speed! That is unlikely but the man has been in the breakfast slot for over a decade and deserves some time to sleep in! I know he will appreciate the later start and things, apart from that, will not change too much. Matt Everitt is still by his side – not sure who they are getting to do the early music news?! – but all the usual features, I assume, will be in place (and the same jingles, beds and dynamics). It is not as though the show is having a complete face-lift and it is a new thing! Fans and ardent listeners will have to acclimatise but those loyal will come along and, in fact, realise change is good. Ironically or not, Keaveny has had to endure an early wake-up all this time and it is good he gets a later start. Laverne, children and husband an all, will get more time later in the day to be at home and bring her vitality, personality and stamp to the breakfast show.

IN THIS PHOTO: Matt Everitt with Sir Paul McCartney

It will be good to wake up with her voice and see how she approaches her new position. I am unsure whether the BBC Radio 6 Music honchos will introduce new features for Laverne but let’s hope we get Memory Tapes, Desert Island Disco and The People’s Playlist. There is no physical or time-related reason why that would not work! The biggest shift and decision is whether there will be live sets during her show. Right now, she hosts musicians just after lunch. I do not know whether they are going to bring that with her when she does early mornings – maybe Keaveny will take that on?! I am pumped Chris Hawkins get an additional half-hour to his show because he is a warm and incredible talent who, I feel, does not get enough airtime. He is always hunting for great new artists and putting important work into the ether. I feel he has a lot to say and deliver, and so, when he is allowed some more time, that will benefit us all. The biggest change is the ‘demotion’ of RadMac to the weekend show. It is not really a bad thing as the weekend breakfast show is a great slot but it will mean they will not have their usual weekday show. I was surprise by the decision and would have preferred another D.J. to go to that timeframe.

IN THIS PHOTO: Chris Hawkins (left) and Stuart Maconie (right)

The fact they are still gainfully employed, as they say, is a good thing. Their partnership remains and I know their fans, myself included, will follow them with eagerness. The best thing to come out of this is the definite elevation of Mary Anne Hobbs to weekdays. She is always great when standing in for Keaveny or Laverne and has a definite hunger to bring the best artists around – championing female artists heavily –; it means we will get a more curated and personal playlist in the afternoons. Her sensual, velvet tones are a difference to the voices of RadMac but it will be a good thing for radio. There are so few female D.J.s in afternoon and evening slots so it is nice to see her there – the fact she and Laverne are both on during the weekdays is a great improvement. I have discovered so many different artists from Mary Anne Hobbs and cannot wait to hear her in a full-time capacity. The fact I am moving to Manchester – she is based in the Salford studio – is great and I can, I hope, get to see some of her local-promoted artists live and up-close. It is great to see two incredible female broadcasters being given new opportunities on the station. I think it will benefit them both and provide a stronger angle to BBC Radio 6 Music.

IN THIS PHOTO: RadMac with Maxine Peake

All the other runners and riders are unchanged and it is going to be some minor changes. There are complaints and those who are scared the station will blow up and suck but, in fact, these are necessary alternations. It is great, as mentioned, the same D.J.s remain there and love their jobs so much. Even the best shows can suffer or seem tired if they endure for years and moving them to new times can add something that will benefit everyone. The simple fact is they are not recruiting D.J.s and replacing those we love – maybe some fresh faces in other slots might be a benefit?! We still get to hear Laverne and Keaveny in London (although the latter will not hand over to the former or vice versa) and Hobbs’ more-regular appearance is a necessary reaction to the call for change – having more female D.J.s in the weekday, big shows. Maybe the sleep patterns and changes will impact some of the on-air talent, but the fact they are in new slots will add energy and a sense of the new. I am excited to see how Shaun Keaveny sounds with a bit more kip and time to refresh; what Lauren Laverne brings us for breakfast and how Chris Hawkins uses an extra half hour – hearing Mary Anne Hobbs five-days-a-week means we get to hear (with Laverne) some newly-championed artists and unexpected tastes the earbuds.

I wonder whether, between now and the start of January, there will be further plans to change slots. It might be interesting to see if they do bring in more D.J.s – female and it would be good to see greater diversity in terms of race – but the same lovable and dependable BBC Radio 6 Music is there. I am pleased and glad ‘we’ (the BBC Radio 6 Music family) are not losing anyone. It is sad RadMac have a reduced role but they are still with the station and it will be tough for them for a bit! A station that holds onto its staff is great but when the schedule is unmoved and unflinching for so long means there is a risk of losing some listeners. You need to change things a bit and try new ideas. I guess Laverne will have to cope with a bit less sleep but she is relishing the chance; I know Keaveny will still find things to moan about (got to love the guy!) and, with the latest RAJAR figures showing the station is growing and more popular than ever; the bosses have the consider how to keep that pace going and how they will move into the next year. The fact BBC Radio 6 Music continues to recruit new fans and grow – where other stations are stagnant or decline – is a sign of great music, wonderful staff and a sense of loyalty and love! That, in turn, will be thrown back to the brilliant D.J.s and producers who embark on new challenges. The rest of this year will see them carry on as normal but, as we ring in 2019, we will have a slightly changed BBC Radio 6 Music that is…

GOOD news for all!                               

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ALL PHOTOS/IMAGES: Getty Images/Press Association/BBC Pictures      

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: RAY BLK

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

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I said I would resist the urge to publish…

IN THIS PHOTO: Kris Angelis

another one of these all-female lists for a while because the weather has taken a turn. Whilst it is rather wet and un-summer-like, I felt a good dose of summer-suited music would help keep the heat and good vibes alive. I have collated the best new music from some fantastic female artists/female-led bands. From various corners of the musical map; there is something to satisfy everyone. No matter what the weather is doing, this assortment of talent is guaranteed to bust the clouds, bring the sun and…

IN THIS PHOTO: Skating Polly

GET you in a better mood.                         

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

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Chelsea Shag – Funk Love

LION – Oh No

RAY BLK – Run Run

Shenna – Conversation

Zuzu – All Good

Petal – Tightrope

PHOTO CREDIT: Ania Shrimpton Photography

She Makes War – Devastate Me

Caoilfhionn Rose – Awaken

Nicole Bullet – Nicotine

Folly Rae – You Don’t Love Me

Sasha – Waterworks

Skating Polly – Camelot

Lauren Daigle – You Say

TS Graye – Take Notes

Tinx – FMLU

Kris Angelis – Bravest

PHOTO CREDIT: Abby Weeden Photography & Design

Kate Kelly – Honey

Nya – Hollywood Hills

L.A.D – My Toy

iamhill – Phuk Wit You

PHOTO CREDIT: Tommo

Girl Ray - The Way We Came Back

False Advertising – Hey You

Goldilox – Very Best

ORKID – Wasted

Militant Girlfriend – Letters

INTERVIEW: Nina Smith

INTERVIEW:

Nina Smith

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I have been speaking with Nina Smith…

about her new single, Run Out, and how it came together. The Nottingham artist discusses the scene there and recommends some artists to check out; if, given the chance, the artist she'd like to support – I ask if any more material will be coming and what we might expect going forward.

Smith talks about the music she grew up around; what advice she would give artists coming through; if she finds time to unwind; gaining success on the iTunes chart – she tells me what she wants to achieve before the end of this year.

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

Ya know what; this week has been great. I’ve just come back from the beach on my first trip to Wales. I feel refreshed.

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

I’m a singer-songwriter from Nottingham. I’ve been writing and recording for about eight years but properly working full-time at it for the last five years.

This new music is taken from my debut album (due to be released later this autumn).

Run Out is your new single. Can you recall when it came together and what inspired it?

The song itself discusses my personal relationship breakdowns with family or friends; with certain individuals I’ve spent a lot of time with trying to help and fix. But, I’ve found that it wasn’t returned when I’m in trouble - and that’s where the notion comes from of ‘running out’ of my life at bad moments.

You signed a production deal with Yoad Nevo. How important was that moment? Did that change your career in a lot of different ways?

It complexity changed my career, yes. I’ve written three albums with Yoad; two of which were for other artists. The first commission I got through Yoad was writing for Ukrainian Popstar Tina Karol. She’s a multi-platinum and extremely talented artist who I have a lot of respect for. So, to be working with that calibre of artist provided me with all the confidence tools I needed for my own record.

Your latest E.P. has reached number-four in the iTunes RnB Chart. How did that make you feel hearing the news?!

I think I was actually on stage at the time playing a show for iluvlive in London when I heard the news. It was quite surreal to be honest as It already knocked me back finding out it reached the top-twenty. I still think it’s crazy when I think about it.

Nottingham is where you are based. Is there a pretty active and varied music scene up there right now?

It’s a vibe! There’s plenty of Notts. expats to talk about; the obvious being Jake Bugg and Sleaford Mods. But, I’ve always been fans of Ady Suleiman, Rob Green; Joel Baker, Georgie; Ronika and Liam Bailey. There’s actually so many more I could mention.

Do you recall the artists you grew up listening to? Which musicians inspired you to write your own stuff?

I remember, one Christmas in the ‘90s, begging my mum and dad for a C.D. player. We had a cassette player, but all of the cassettes were old and didn’t interest me. When I finally got one, I bought a NOW That’s What I Call Music! C.D. and fell madly in love with two songs on there. One was George Michael’s Jesus to a Child and 2pac’s California Love. I would listen to the songs over and over again in my room, much to the annoyance of my parents.

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

I release my debut album, White Feather, in autumn (2018). It’s an album that has taken me three years to record and is ten years in the making. Everything I do will be centred in trying to get this new music heard. I hope to play a few more special gigs and share this music to my fans.

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

For me, this year has a few key moments. But, just last month, I played Splendour Festival which is a local. It was pretty incredible. It’s a 25,000-capacity festival, so the main stage was overwhelming when looking out to at least 10,000 faces. Me and the band made sure we made the most of the experience and just had so much fun.

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

I think Anderson .Paak. I’ve hung out with him and his band a few times and they have the most amount of fun. They are so, so talented but then have such crazy times after the shows. He’s one cool dude!

What advice would you give to new artists coming through?

I’d say that it’s all about the songs. Anyone can wear a sh*t-load of make-up, put on a bangin’ outfit and sing a song that’s manufactured to fit the times…but, writing a good, timeless song (successful or not) that people can relate to and feel the emotion from is a gift that is unreplaceable.

IN THIS PHOTO: Betsey Bircumshaw

Are there any new artists you recommend we check out?

Well…funny you ask. I’ve just launched a youth record label actually called First Light. There are six amazingly talented artists I’ve signed. Check out www.firstlightlabel.com.

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

I don’t ‘give’ myself enough time off. I think that’s part of my problem. But, I’m slowly learning to have days off away from my laptop. So far, I’ve had a four-day break (last week) and I feel like a new woman.

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). 

Ya know what; an artist I love at the minute is Jordan Rakai - Nerve

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Follow Nina Smith

Official:

http://www.ninasmithmusic.com/

Facebook:

https://www.facebook.com/ninasmithmusic

Instagram:

https://www.instagram.com/ninasmithmusic/

Twitter:

https://twitter.com/ninasmithmusic

SoundCloud:

https://soundcloud.com/ninasmithmusic

INTERVIEW: Mikaela Davis

INTERVIEW:

PHOTO CREDIT: Jacalyn Meyvis

Mikaela Davis

___________

THE brilliant Mikaela Davis has been discussing…

her album, Delivery, and what sort of themes inspired it. I ask about working with John Congleton and how she got into music; how she feels about coming to the U.K. to perform; what sort of music she is inspired by – Davis recommends some artists worth a follow.

I was eager to learn which musical memory stands in her mind; the three albums that mean the most to her; the advice she would give artists emerging – she tells me what the music scene is like in Rochester (New York) right now.

____________

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

Hi! Doing well. My week has been just fine. How about you?!

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

I am Mikaela Davis - current musician and former baby.

Delivery is your new album. Can you talk about the sort of themes and stories that inspired the record?

Most of the record is very personal…songs about writing songs and being frustrated with myself. I don’t want to give away too much of course because I love hearing how other people connect these songs with their own life, which is what they are for!

You worked with producer John Congleton. What was that experience?! Did you learn a lot from him?

It was a great experience for my band and me. John works quickly (so quickly it scared me at times!) and is super-efficient. I was at this weird crossroad where I doubted myself too much and was worried no one would like my music. John taught me to go with what feels right to ME and not give a f*k (as best I can. Hehe).

How did you get into music? Were there particular artists who inspired you to get into the industry?

Well. I climbed out of the womb, screaming and got tangled in harp strings almost immediately. I’ve been a music lover all my life, but my uncle Franky inspired me to become a musician most of all. He brings his guitar to every family function and plays original songs and covers. I used to think he wrote Working Class Hero until sometime in high-school. Ha!

 PHOTO CREDIT: Jacalyn Meyvi

The harp is your instrument of choice. What drew you to it?

I started taking harp lessons at my public elementary school and, soon after, was studying with Grace Wong. Later in life, I found out that my mom was listening to a lot of Andreas Vollenweider when she was pregnant with me, so maybe that’s why I was drawn to the harp (and Zelda).

You are a native of Rochester, New York. Is there a pretty good music scene there at the moment?

Yes! There’s a cool Rock ‘n’ Roll/Punk scene going on. Joywave is Rochester-based as well. Everyone is pretty supportive of each other here. I am in multiple Rochester bands - Ben Morey & the Eyes, August West and The Vinaigrettes.

Is there more material coming later in the year? What are you working on?

It’s anyone’s guess. I have a bunch of new songs that will most likely be saved for L.P. number-two.

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

I started writing songs when trying to figure out a Vanessa Carlton tunes on piano in middle school. Recently, I’ve been listening to Neil Young, every Beatle; Aretha Franklin, Melody’s Echo Chamber; Harry Nilsson, Lake Street Dive; Emmylou Harris…

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

How the heck to make a daily schedule and stick to it.

PHOTO CREDIT: Julia Drummond

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

While I was on tour with Bon Iver in Europe, Justin asked me to sit in on harp AND sing the second verse of Flume. That was pretty crazy.

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

Journey in Satchidananda - Alice Coltrane

This album with Pharaoh Sanders is amazing. I didn’t know the harp could have so much emotion and life. Alice inspired me to try improvising.

John Lennon/Plastic Ono Band - John Lennon, Yoko Ono

I listened to this on-repeat before recording Delivery. It’s so raw and so real.

This Girl’s In Love with You - Aretha Franklin

Aretha’s voice is so transcendent and powerful. I wish my voice could do what hers does. The songs she chose for this record especially resonate with me.

PHOTO CREDIT: Jacalyn Meyvis

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

Easy. Neil Young!

My rider would include an eighth of the region’s finest weed to enjoy his set every night; a block of your finest sharp cheese; cutting board and knife. No crackers.

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

Yes! Touring Europe and North America this fall. Check mikaeladavis.com for details.

You are coming to the U.K. in October. Is this your first time here? Do you like British music?

I heard a pretty good band the other day; I think they’re called The Beatles. Saw Black Sabbath a few years back. Can’t hear a word Ozzy is saying but I’m sure it’s gold.

I’ve toured in the U.K. multiple times! First, with The Staves who are also an amazing British band! Again, with Bon Iver I’ve played Bushstock Festival, The Great Escape…excited to come back!

What advice would you give to new artists coming through?

Some days, I wake up asking myself why I chose this path. I’m sure it happens to all the greats, though I can’t be sure. When you’re frustrated, remember why you started performing in the first place. Wake up and try harder.

 IN THIS PHOTO: Wilder Maker/PHOTO CREDIT: Chris Weiss

Are there any new artists you recommend we check out?

Wilder Maker, Katie von Schleicher; Gruff Rhys, Adron; Melody’s Echo Chamber, Hiss Golden Messenger; Gia Margaret…SO much good music coming out right now! (Smiles).

IN THIS PHOTO: Adron/PHOTO CREDIT: Brock Scott

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

When I can I like to hang with my friends, my family and my cats.

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).

Closer to God - Wilder Maker

____________

Follow Mikaela Davis

PHOTO CREDIT: Jacalyn Meyvis 

Official:

https://www.mikaeladavis.com/

Facebook:

https://www.facebook.com/mikaeladavismusic

Instagram:

https://www.instagram.com/mikaeladavis/

Twitter:

https://twitter.com/MikaelaDavis

SoundCloud:

https://soundcloud.com/mikaeladavismusic

Spotify:

https://open.spotify.com/artist/6CbL78A3tB1CPFoduF7UM5

YouTube:

https://www.youtube.com/channel/UCSKiYnr59a6D_MRmygbkC9Q

INTERVIEW: Dutchkid

INTERVIEW:

Dutchkid

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I have had a great time speaking with Dutchkid…

as the guys tell me about their upcoming E.P., Empires. I ask them what sort of themes and ideas enforced the music; how the band came together; whether their vast and eclectic creative experience aids their music; which artists they are influenced by – they reveal whether there will be any tour dates.

I ask which upcoming acts we should get behind; what it feels like getting backing from Apple Music and Fickle Friends; the advice they would give to musicians coming through; whether they get time to unwind away from music – the guys select a song each to end the interview with.

____________

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

DK: Hey! It’s been a great week, thanks. This weather is something else though! 

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

Not sure about that. Haha...do you think we’ll ever see the rain again?! Definitely feel we’ve been more inspired and productive in the winter. 

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

We are ‘Dutchkid’; an Alternative-Pop collective based in London:  

Jordi van Dyk | Vocals & Bass

Pete Coggan | Vocals & Keys

Chris Smyth | Samples & Synth

Jack Kircher | Drums

Josh Hailes | Technical Director

Jordan McGregor | Manager

How did Dutchkid come together? Was there a moment when you knew everything had clicked and the band was cemented?

Dutchkid is what happens when mutual friends decide to bridge the gap. Haha! 

Pete and I were actually introduced to each other by Chris. On introduction, I realised the two of us had a mutual friend back in South Africa: we enjoyed the same music and we both shared a love for songwriting. I guess you can say it wasn’t going to take long for us to hang out and write. With the writing came the realisation that we had to do something with these songs.

From the start, it was clear to us that Chris would be a part of the collective. He was super-passionate about the songs, just killer with samples and synth and, being from a design background, brought a strong brand identity to the collective. The forward-thinker. 

We always imagined having a drummer join the line-up and Jack was the man! When Pete isn’t doing music he works in film and these two guys connected in the industry over this shared passion. It felt like the right fit. Incredible guy, tight drummer; heads up his own studio and is a fantastic mix engineer. Shortly thereafter, I asked Josh if he’d be interested in joining. We knew that, in order for us to do this project well and bring the live aspect to life, we’d need him in our corner. The Josh-of-all-trades. Our very own Phil Harvey. 

Lastly, Jordan McGregor. The man with a strategy and the multiplication skills to make sure we’re headed in the right direction. He’s always keeping us on our toes. We pride ourselves in that we are a collective of creatives; all contributing to what eventually becomes a DK offering. Most days it feels like we are The Avengers. Haha! 

 

Empires, your E.P., is out next month. What are the lyrically and musical inspirations behind the songs?

Lyrically, we are often inspired by the dynamic within relationships and write from the perspective of different characters. I guess, if you find humans intriguing, you’ll always have something to write about. 

A really good melody or progression also inspires us! There are so many incredible bands that have had an impact on us and that have left a mark on our sound. We have created a playlist on Spotify with a few of our favourite artists. If you’re interested, check that out!  

Seeing as the band source members from different nations and creative fields; does this eclectic and multimedia makeup account for your varied and strong sound?!

Definitely. Diversity has had a major impact on our music. It’s a beautiful thing! 

You have been backed by Fickle Friends and Apple. Is it quite humbling and encouraging to get such big backing?

Yeah! Apple Music have been so good to us...thank you! 

The Fickle Friends tweet was completely unexpected and a big surprise for us. We’ve been fans of Fickle Friends for a while now. We love what they’re doing and the great music they consistently keep putting out. It’s pretty funny how such a simple gesture has really encouraged us. They are awesome. 

 

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

Yeah. I’d say we are into the same music and there’s always new sounds being shared. There are so many artists we love…to name a few: 

Sylvan Esso, Billie Eilish; Fickle Friends, Sigrid; Portugal, the Man, Bleachers; Jungle, Kanye; Foster the People, Glass Animals; Fyfe, Kimbra; Bombay Bicycle Club, LANY; Twenty One Pilots, Sigur Rós; Civil Twilight, Justin Vernon; Chris Martin, Dan Reynolds; Ryan Tedder, Donald Glover; Maggie Rogers, The 1975; The Japanese House, Miike Snow...the list goes on! 

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

We are so excited for people to hear these songs and for these tracks to finally be out there. We can’t wait to play shows and meet the people that have connected with the music.

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

Definitely! We have loads of exciting things happening in the pipeline. Be sure to keep the eyes on the socials for all info coming soon. 

Is it important for all of you to get on stage and connect with the people? Can you describe the feeling of being on stage and playing?

There’s something so beautiful and yet powerful about a venue filled with complete strangers from different backgrounds and, in that one moment, they all have something in common. It really is the best feeling and yet so strange because you blink and, in an instant, it’s all over until next time. There’s nothing quite like it. 

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

Hearing your music on the radio for the first time is pretty special. 

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

Is there really enough time for this question?! So. Many. Possibilities. Haha!

What advice would you give to new artists coming through?

Be kind...failure is never the final destination; it’s just a pit stop. Keep going. 

IN THIS PHOTO: OUTLYA

Are there any new artists you recommend we check out?

There’s this London based band called OUTLYA. They are incredible. Every chorus is an anthem. Also; Only the Poets and WOWH are killing it.

IN THIS PHOTO: Only the Poets

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

We enjoy each other’s company and a good pint. Our families and friends are good at keeping us busy and grounded too. 

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).

Jordi: Live in the Moment - Portugal. The Man

 

Pete: Vallis Alps - Serity

 

Chris: Gold Rush (Trooko Remix) - Death Cab for Cutie, Trooko

Jack: Years & Years - Sanctify

Josh: BROCKHAMPTON - 1998 TRUMAN

 

Jordan: The 1975 - Somebody Else 

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Follow Dutchkid

Official:

https://www.dutchkid.co.uk/

Facebook:

https://www.facebook.com/dutchkidmusic/

Instagram:

https://www.instagram.com/dutchkidmusic/

Twitter:

https://twitter.com/dutchkidmusic

SoundCloud:

https://soundcloud.com/dutchkidmusic

Spotify:

https://open.spotify.com/artist/2mgl6HmStFhjJciWKpStup

YouTube:

https://www.youtube.com/channel/UCzbp4ugHJBMus8dyFbl53nQ

FEATURE: Magnum '66: Revolver at Fifty-Two: The Beatles’ Greatest Work and Its Endless, Mind-Bending Firepower

FEATURE:

 

 

Magnum '66

IMAGE CREDIT: Klaus Voormann 

Revolver at Fifty-Two: The Beatles’ Greatest Work and Its Endless, Mind-Bending Firepower

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IF you think the title of this piece is a little unwieldy…

IN THIS PHOTO: The Beatles recording Revolver at Abbey Road Studios (1966)/PHOTO CREDIT: Getty Images

then you’ll forgive me going for baroque! Although The Beatles’ Revolver arrived fifty-two years ago to the day in America – it arrived a few days earlier here in the U.K. - I felt it ripe for new spotlight and appreciation. There are so many revolver/gun-related lines one can go down when it comes to America but, rather than go off on an armoury tangent; it is a great opportunity to focus on an album whose legacy and potency continues to exert and stun. This year, in November, we will all witness the fiftieth anniversary of The Beatles' eponymous album (better known as 'The White Album'). That record, like Fleetwood Mac’s Rumours, was created at a time of great interpersonal stress and strain within the band. Whereas Fleetwood Mac’s resulting album floored critics with its consistency and incredible cohesiveness; The Beatles proved to be a more scattershot and expansive album. It is the sound of four musicians, at once bonded, now headed in different directions – even if the album itself remains extraordinary and fascinating. I feel The Beatles’ last real year of togetherness and harmony was in 1966. Maybe there were cracks starting to appear but there were definite strains by 1967. It is no surprise, therefore, many feel Revolver is the height of their critical power. My favourite Beatles album is Rubber Soul (which came a year before Revolver) but many see the two albums as part of the same – Revolver is the more daring and experimental brother.

IN THIS PHOTO: The Beatles travelling through Europe by train in 1966/PHOTO CREDIT: Getty Images

If The Beatles were forging their own path as unique songwriters and a band reshaping Pop by 1965; only a year later they were upping their game and, yet again, taking music in new directions. Those who feel Sgt. Pepper’s Lonely Hearts Club Band (1967) is The Beatles’ finest hour must remember a few things. I love the album but feel it is more influential than quality-laden. It seems more a Paul McCartney project – he devised the concept and has most of the songwriting credit – and the album has one or two weak moments (George Harrison’s Within Without You is among them). Whereas that was a case of an album signifying a time in history and a movement of free love and colour; Revolver is a much more focused, nuanced and crack-free (or should that be weed?!) effort that showed what promise there was on Rubber Soul. The writing is a bit more balanced in terms of the band’s contributions – Lennon and McCartney, I think, wrote five songs each; Harrison takes three (Taxman, Love You To and I Want to Tell You) whilst there is a co-write in Yellow Submarine – maybe more in the McCartney camp. The fact that Harrison’s Taxman opens the album – and has that immense McCartney bass work on it! – proves there was greater equality and boldness in the group. It is, in fact, the perfect way to start the album. Revolver has perfect programming; some of their earlier work suffered from the odd track being in the wrong place – I feel Rubber Soul and A Hard Day’s Night could have done with a reshuffle.

The sort of studio experimentation and effects that would mark Sgt. Pepper’s Lonely Hearts Club Band was coming through on Revolver. Backwards effects and tape loops – personified on the closer, Tomorrow Never Knows – added another dimension to the band’s exceptional work. If the band were still indulging in substances – LSD was taking more of a role in their creative meetings than other drugs – the fact they had taken a break from professional commitments meant there were free to write at their peace and not be hurried into touring. You can hear the band pulling together and still very much a unit. If there were slight signs things were not as rosy as their beginnings; the material does not show the strain that would define albums like The Beatles and Let It Be (1970). The extraordinary Rain and Paperback Writer were also penned during that time (non-album singles in the same way Strawberry Fields Forever and Penny Lane were created, but not released, when Sgt. Pepper’s Lonely Hearts Club Band was taking shape) and the band were moving from a more traditional, if ground-breaking Pop band, to the psychedelia and mind-bend that would take their sound in new directions. One of the reasons Revolver deserves big acclaim and birthday (if a couple of days late) is how it changed Pop music in 1966 – it is advanced and rare today, even! There is nothing in modern music, or has been, that pushed music as far; nothing from a Pop band that garnered such a huge reaction.

IN THIS PHOTO: John Lennon during Revolver's recording/PHOTO CREDIT: Getty Images

The band were not only talking about love and leaning on lyrical themes that defined their earliest work. The guys were representing the countercultural movement and addressing Tibetan Buddhist ceremony practice and, with Harrison making his first foray into Asian/Indian music, sounds beyond the U.K. and U.S. Rubber Soul gained a fantastic critical wave and, it seems, gave The Beatles the confidence to take their music to the next level. Creative control pre-Revolver was more in favour of Lennon – that would change after only one album – and it might be the only Beatles album since their start where the two lead songwriters had equal billing. New styles and genres were coming into their work; the boys were almost inventing and developing their own movements; the studio was less a place to record and more a temple where they could tamper, wonder and change the rules of popular music. With George Martin, of course, in the producer’s chair; The Beatles were vibing from the swing and cultural reputation of London. The band would often visit plays and shows and take inspiration from them; the buzzing streets and wave of art that was flooding the city fed into their blood. It was a moment when the band were completely together and there was no ego control – although an argument during the recording of Lennon’s She Said She Said saw McCartney walk out of the studio – and Martin was given more trust and a bigger role (often adding new elements to songs and realising their full potential).

IN THIS PHOTO: The Beatles in 1965/PHOTO CREDIT: David Mcenery/REX/Shutterstock 

Compression and tonal equalisation added fresh nuanced into the band’s music; a greater range of instruments was brought into the mix – from Harrison’s locker of Asian instruments to sound effects and horns – and The Beatles were taking more risks. The backwards effects one hears on I’m Only Sleeping – the backmasked guitar solo – was new to Pop music; McCartney’s bass was given more prominence and influence on the recordings; the closed-mic orchestrations on Eleanor Rigby and the biting horns on Got to Get You Into My Life were all new to the band – they were breaking from the past and almost reinventing themselves. Lyrics, as such, rarely touched on love and, instead, looked at death, dreams and spirituality. Maybe drugs and the culture of the time had a big role in that decision: the fact the band were confidently together and as hungry as ever meant another Rubber Soul was not on the cards! From Harrison’s protest at increased taxes by Labour P.M. Harold Wilson (Taxman) to Eleanor Rigby’s perils of loneliness – after only two songs, The Beatles have subverted expectations and introduced their fans to subjects they were not used to hearing. Although some of the subject matter deals with deal and isolation; there is a lot of beauty and fizz to be found. Revolver is a more expressive statement than any work they had done to that point.

IN THIS PHOTO: Paul McCartney during the recording of Revolver/PHOTO CREDIT: Getty Images

Got to Get You into My Life has jubilant horns and Stax/Motown-like qualities (certainly, there is an air of America) whereas Here, There and Everywhere and nods to The Beach Boys’ Pet Sounds – Brian Wilson, in turn, was inspired to write that album after marvelling at Rubber Soul! There was the old (love and tender songs) but a more expansive and brash Beatles. Bob Dylan, the English summer and Tibet influenced the album’s second-half. In fact, that extra-terrestrial closer (Tomorrow Never Knows) remains the band’s most progressive and astonishing offering. Not only had The Beatles never produced anything as radical and progressive: look around music and it sounds like an alien from another planet! It was the moment that closed an album that took The Beatles to new heights. The title came from a typical Ringo Starr malapropism (in the same way A Hard Day’s Night and Eight Days a Week came to be) but the composition seemed to take from sources all around the musical and physical world. There is the spiritualism and haunt of the lyrics: the physicality and audio head-fu*k of the composition creates a balance that is uneasy, eye-watering and psychotropic. McCartney’s laughter was magnified and sped to sound like seagulls; Lennon wanted his voice to sound like the Dalai Lama singing from the top of a mountain – the band were on a different plain and, in yet another way, was changing music forever.

The fact Revolver has shifted critical and public opinion this century is because of the way it has influenced music today – in terms of the studio experimentation, genre-hopping and lyrical themes. Sgt. Pepper’s Lonely Hearts Club Band was always considered the master and most important Beatles moment. Many say the album is only as revered because of the epic closer, A Day in the Life. Revolver is a more complete work and it is hard to pick out any weaknesses. It was only natural the band would take another leap from Revolver to Sgt. Pepper’s Lonely Hearts Club Band but the shift they took from Rubber Soul to Revolver is immense. This article (written to celebrate the album’s fiftieth anniversary) – drills down to the essence and brilliance of the album/period:

“But in and of itself, Revolver is quite an achievement, a testament to the collaborative power of what was, essentially, a simple four-piece rock band. The Beatles were always a collective—even when they were at their most frayed in the late ‘60s, the band’s chemistry shone through on their best recordings. And on Revolver, the complementary dynamic between John Lennon, Paul McCartney, George Harrison, and Ringo Starr reaches its creative zenith, buoyed by an eclectic set of songs and, in George Martin, a producer eager to realize his proteges’ ever-expanding creative vision.

But from the moment you hear that fake count-in that opens the ornery “Taxman,” along with it’s jagged guitar solo (played by McCartney, not Harrison), punchy rhythm, thumping bass and off-kilter backbeat, it’s clear that the Beatles weren’t just far away from their Beatlemania sound, they were also uninterested in rehashing what they’d so successfully mastered on Rubber Soul. That album was barely six months old when Revolver was released, and two albums have rarely been so close chronologically but so disparate sonically and musically”.

Greg Kot, writing for the BBC in 2016, stated why he felt Revolver exceeded Sgt. Pepper’s Lonely Hearts Club Band’s reputation:

“It does everything Sgt Pepper did, except it did it first and often better. It just wasn’t as well-packaged and marketed. The hype that preceded Sgt Pepper had a lot to do with the leaps in imagination, the studio-as-instrument adventurousness, that flourished on Revolver in half the time: the sessions for the 1966 album spanned two-and-a-half months whereas Sgt Pepper took an unprecedented five months to record”.

There are a couple of reasons why The Beatles’ magnum opus deserves year-in-year-out investigation and hoopla. For one, it is the creative and personal harmony/height of the greatest band in music. Pre-Revolver, there was a bit of rush and occasional creative disparity; post-Revolver, the band started to splinter and dissolve. Their 1966 masterpiece is them as a band with no leaders and bitterness: it is four friends taking everything music was about then and turning it on its head. I mentioned how modern Pop/music does not push boundaries like The Beatles did then. I have not heard anything in the last couple of decades that has pushed music to such an extent. Even though there is not an album to rival Revolver’s calibre; from its production and techniques to its musical and lyrical eclecticism, it is a record that is very much alive and well today – various acolytes, cousins and embers infused into all corners of the modern market.

IN THIS PHOTO: Recording of Revolver at Abbey Road Studios

If it were not for Revolver, who knows when we might have experienced something as giddy – outside of The Beatles’ minds, that is! Another reason why the album should be marked is how seamless and faultless it is. Many argue albums are irrelevant and people only listen to singles these days. That is a tragic thing to hear and maybe there are few albums you want to listen to from the start to end. Revolver offers no weaknesses and, instead, provides an emotional and sonic banquet that will leave you arrested and smiling. In fact, the album sort of whizzes by and you are compelled to put it on again – perfect in vinyl form when you need inspiration and calming. It is what albums were made for and, fifty-two years after its release, has yet to be equalled in terms of its sheer quality (many might argue but I would refute anyone).

You have that variety and musical variation; the incredible cover (by Klaus Voormann) and two world-class songwriters at their peak; the fact Yellow Submarine doesn’t sound out of place – you cannot forget the guys were experimenting with no instruments and felt their work growing stronger and more ambitious. The band spent longer on Yellow Submarine than the entirety of their debut, Please Please Me; most of the tracks are three minutes or under; all four band members contribute lyrics to Eleanor Rigby…Revolver seems ultra-complex and simple all at the same time! The guys knew Revolver was a big step (in the dark) but they were unafraid to shed the odd fan or two for making an album that did not repeat or conform. They wanted to blow minds, change music and stand ahead of all competitors – they did all of that and some! I hope Revolver’s fifty-second (and-a-bit) birthday means younger fans discover the album and those who are familiar pick up their copy and play it to death! It was a record that surpassed anything The Beatles had created (and would go on to create) and, in many people’s mind, it’s an L.P. whose innovations, wonderful songs and sheer brilliance…

IN THIS PHOTO: The Beatles in Washington, D.C. on 13th August, 1966/PHOTO CREDIT: Getty Images

HAS not been equalled since!                  

INTERVIEW: Shenna

INTERVIEW:

PHOTO CREDIT: Curtis Bryant 

Shenna

___________

IT is always interesting speaking with Shenna…

and finding out what she is up to. The American songwriter has been telling me about her new song, Conversation, and how it all got started. I ask her whether we will get more cuts next year; which artists inspire her the most – she tells me whether she takes strength from the best of the female mainstream right now.

Shenna talks about a favourite musical memory; which three albums mean the most to her; if there are tour dates coming up; what the chances are of a U.K. trip – she ends the interview by choosing a fantastic song.

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

I am great! Getting ready for a big show this weekend. Thanks for interviewing me!

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

Yes! My name is Shenna and I am an Indie-Pop artist from Virginia, currently based in the busy city of New York. I create music that expresses embracing individuality and self-expression.

Conversation is your latest single. What is the story behind the song?

My new single, Conversation, is about putting all distractions aside and making sure both people are on the same page to continue a healthy relationship. A lot of times we hide behind social media and words getting mixed up by others passing along the gossip. This song is about a face-to-face conversation with those two people addressing their feelings.

How do you think your music has evolved since the start? Do you think you are a more confident and bold artist now?

My music has evolved by becoming confident with more depth in my lyrical expression over time. I am definitely more vocal and bolder now with my statements!

Is there going to be more material coming later in the year do you reckon?

Yes, of course, and I am so excited for you to hear and see it! My music video for Conversation is currently in-the-works!

PHOTO CREDIT: Malcolm Fong

There are some strong women in the Pop mainstream. Would you say you take a lot of power from them?!

I definitely study who is dominating the top-40 on the Billboard charts. I study their growth but, most importantly, I watch new artists like Dua Lipa and the steps they took to get to the next level

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

I love Corinne Bailey Rae. Her lyrics and vibe captivate me and make me feel like I am in a different setting. I also love Bruno Mars and Rihanna because they stay true to who they are and make their following feel as if we truly know them.

PHOTO CREDIT: Curtis Bryant

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

I want to grow my fan base dramatically! I would love to go on tour with a major artist or, at least, secure a slot for 2019!

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

I think one of my favourite memories was my band taking a thirteen-hour bus ride to Toronto from N.Y.C. to perform at the Virgin Mobile Mod Club. The venue has had many national acts perform there and the responses we received made us feel like we already made it. It was definitely a moment.

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

These are all so different, but I will start with Corinne Bailey Rae’s self-titled project because that is when I realized she was my favourite artist due to her expression in telling the story of her lyrics.

I love Mariah Carey’s The Emancipation of Mimi because every song on the project was a hit in my opinion - and so well written.

Last, but not least, I have to say my album, Made of Gold, because each song told a different story of how I felt during that time - and showed my growth from Dream in Color until now.

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

Wow; that is a tough one. Well. I would have to pick Beyoncé because her fans are so loyal and she is amazing! Not to mention I could have anything in my rider!

Even if I got to choose things I am not that high maintenance so I think just sparkling water, fruit; hot jasmine tea, a humidifier and possibly a massage chair (laughs). It is crazy because I do not get stage fright at all but I do over-think before I hit the stage, so I like to try my best to relax before a show.

PHOTO CREDIT: Curtis Bryant

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

Yes! I know you’re in the U.K. too so I plan on coming back out soon in the fall or early-winter!

What advice would you give to new artists coming through?

Work as hard as you can and make sure you always set a value to yourself. If this is your career, protect your brand like your life depends on it because it kind of does!

IN THIS PHOTO: Alex Vargas

Are there any new artists you recommend we check out?

Yes! He is not super-new but some people may have never heard his music: Alex Vargas is amazing!

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

No. I go crazy if I do not do music, honestly, or something in the music business realm. The only way I unwind, sometimes, is by reverting into adult-child mode (I like to call it) and watching cartoons like Rick and Morty and Family Guy for a mental break-day (or few hours).

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).

Still Woozy - Goodie Bag

____________

Follow Shenna

Official:

https://www.shennamusic.com/

Facebook:

https://www.facebook.com/ShennaMusic/

Instagram:

https://www.instagram.com/shennamusic/

Twitter:

https://twitter.com/shennamusic

SoundCloud:

https://soundcloud.com/shennamusic

Spotify:

https://open.spotify.com/artist/33yC6eUVU50T46oKGq6WUM

YouTube:

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

FEATURE: Re-Birth of the Cool: Is the Jazz Revival Here to Stay?

FEATURE:

 

 

Re-Birth of the Cool

PHOTO CREDIT: Unsplash 

Is the Jazz Revival Here to Stay?

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THERE are still a lot of people…

PHOTO CREDIT: Unsplash 

who have a limited impression of what Jazz music consists. They assume it is all rather ponderous, pretentious and, for the most part, boring. Many of us do not have the patience to sit through music without vocals. Submitting yourself to music that requires you to provide words can be a bit strange. We live in a time when music is constantly available and in front of us – most of what we hear on a daily basis has a vocal element of some sort. Jazz is a genre that relies, for the most part, on instrumentation and texture. There are great Jazz singers like Billie Holiday but we often associate the genre with these trumpet-heavy passages and sprawling songs. There are so many different styles of Jazz and we do not really have a handle regarding its depth and brilliance. If you want a classic by Miles Davis or John Coltrane then you have choices; if you want something more modern then there are some fantastic artists ready to excite the ear. Maybe it is hard reappropriating Jazz’s ‘reputation’ and how it been on the outside for a very long time. Whilst it is not toppling the mainstream and swinging in with the swagger of Britpop; Jazz is back in the news...

PHOTO CREDIT: Unsplash

It seems the genre’s popularity is starting to hit the new generation. We may not see the popularity it acquired in the 1920s but I can see a definite upswing – I will look at why many, in recent years, have slated Jazz and feel it is dead. Before I look at artists bringing Jazz into the mainstream; it seems there is a lot of stuffiness and futility swirling. We have seen the shortlist for this year’s Mercury Music Prize announced and, like every year, there is that ‘token’ Jazz album. Last year, we saw Dinosaur nominated; The Comet Is Coming were nominated the year before – this year, Sons of Kemet have made the cut with their record, Your Queen Is a Reptile. Even before people have heard a note, they are writing off the Jazz albums and assume they are there to make up the numbers! I feel the Jazz albums included on the Mercury list warrant a lot more acclaim. Modern Jazz is among the most exciting and innovative we have ever seen. Some purists prefer Jazz to be true to its roots and not modernise itself. Many modern Jazz artists, like Sons of Kemet, bring in other genres to give the music much more life and adventure. They fuse Rock and Caribbean Folk together; some African strands and stir it all together.

Critics praise Your Queen Is a Reptile’s killer charts, tightness; the great improvisations and how it tackles racism, immigration and troubling political times. Ecstatic, fulsome and endlessly inventive; not only have Son of Kemet shown British Jazz is thriving but they prove what can happen when you bring new ideas to Jazz. I doubt the album will win the Mercury but its genius and quality warrants recognition and celebration. One of the reasons why Jazz is starting to gain popularity and traction is how diverse and exciting it is. I mentioned how we have this impression of soothing, smooth and one-dimensional Jazz songs. The days of beard-stroking players noodling for hours still seems to pop into our minds. Look at the modern breed and you are treated to something heady, fantastic and vivacious. Whilst Jazz bands like Sons of Kemet are helping change minds and show Jazz’s flexibility; one has to look at U.S. artists like Kamasi Washington and Kendrick Lamar – two of the pioneers who are mixing Jazz sounds with political and social messages. Washington, in a recent interview with The Guardian, was asked about his upbringing and how Jazz came into his life:

“The cheerful ease with which he can bowl into a club and take over the stage is partly down to these links with jazz’s legacy. Up-and-coming musicians in the field often talk of the pressure they feel to not only appease the gatekeepers of tradition but to live up to the greats. Washington never felt daunted. “It wasn’t alien to us,” he explains. “[Jazz] comes from poor black neighbourhoods, so because of that foundation we thought of it as a support. It feels more like a horse that you can ride out on than a weight, the horse that’s taken all your forefathers around the world and allowed you to express yourself”.

Listen to Washington’s new (double) album, Heaven and Earth, and there are meditations on black identity and brutality: big social themes and powerful messages are mixed with gentler, spiritual codas. Modern Jazz artists are using the genre to deliver something hard-hitting and thought-provoking. Whilst Pop and Rock have a big role and are more popular than Jazz; I wonder whether artists are providing anything substantial and observant. Genres such as Post-Punk and Jazz, instead, are platforms where artists can discuss what the world is like and the problems out there. Washington, on his latest record, blew critics away with his epic soundscapes and immersive brilliance. Some noted a slightly limited scope in terms of improvisation – little harmonic momentum in his solos; pentatonic pattern-work harking back to Jazz’s traditions rather than reshaping them. The biggest compliment, mind, was levied at how he creates frameworks so his bold and expressionistic style can rouse battle-cry and buckle the knees. Rather than rip up the rulebooks and forensically evolve Jazz’s structure and core; Washington uses music as a way of creating transcendence, talking about his struggle and making Jazz accessible to the masses. More than anything, modern Jazz artists are making (the genre) easier to appreciate and love – rather than the academic and rather technical form that drove some away.

IN THIS PHOTO: Kamasi Washington/PHOTO CREDIT: Nina Corcoran

Returning to that aforementioned interview; Washington was asked whether he could see modern Popstars like Rihanna employ Jazz in their music:

“Yeah, if she wants her show to be great,” he says, laughing. “I mean, I think it’s already [begun]. Even at Coachella, seeing Beyoncé with a brass marching band, people are learning the value of what jazz represents: ideas of musicianship and allowing multitudes of people to express themselves within your show. It’s growing. Once you kind of get a taste of that, it’s hard to go back”.

Jazz is registering and resounding because of the messages coming through. Washington talks about police brutality and the role of the black citizen in America (in the world) in a way other artists aren’t. Aside from black musicians like Childish Gambino; there are fewer revealing what it is like in modern America; what life is like for the black population. That sort of honesty and harsh truth is speaking to people all over the world – not only the black population of the U.S. Look at Kendrick Lamar’s 2015 masterpiece, To Pimp a Butterfly, and that can be seen as a catalyst for the modern Jazz revival. Kamasi Washington was involved with that record and helped bring Jazz to the mainstream. Artists like A Tribe Called Quest and De La Soul did that years before but, at a time when Jazz was struggling and not a populist force; Lamar reshaped our opinions regarding Jazz’s flexibility and promise – spicing incredible compositions with lyrics that hit the heart and made you think.

Other artists, such as Thundercat, are keeping Jazz’s flame and elasticity firm and fluid. I wonder whether we get caught up in clichés and stereotyped views regarding Jazz. Why, then, has the genre acquired a bad name? This feature goes back and time and tries to explain where Jazz went wrong:

“When jazz trumpeter Nicholas Payton wrote a famous essay about the demise of jazz, "On Why Jazz Isn't Cool Anymore," he made a curious declaration:

"I create music for the heart and the head, for the beauty and the booty."

When, however, was the last time anyone associated shaking their booty to jazz music? Probably not since the swing and big band era of the 1930s and '40s, when people actually danced to jazz.

They also sang along to jazz tunes. Vocal standards like "Summertime," "Alone Together" and "Days of Wine and Roses" were written for Broadway or Hollywood. Jazz offered accessible melodies that anyone could hum along to.

Then bebop came along after World War II and fans had trouble keeping up. Titans like trumpeter Dizzy Gillespie and saxophonist Charlie "Bird" Parker played music that was hyper-fast and fiendishly complex. The focus was on the virtuoso soloist -- not a catchy melody. People stopped singing and dancing to jazz; bebop supplanted the booty.

 IN THIS PHOTO: Charlie Parker/PHOTO CREDIT: Getty Images

Jazz also became more esoteric, its leaders becoming self-indulgent and playing primarily for themselves. If you were too square to follow, too bad. So when trumpeter Miles Davis started turning his back to the audience while performing live, it symbolized what jazz had already done -- it tuned out its audience”.

Modern Jazz, in the U.S. and U.K., is starting to reconnect with the audience and gain a sense of cool. That rather stuffy and elitist attitude to Jazz is turning. The genre does not require listeners to be experts or have a great knowledge of the form. Modern artists are not turning audiences away; they are eager for them to experience the music, hear their words and discover something wonderful. If political and socially-aware artists in the U.S. are trying to spearhead a Jazz revival; there is a wave of British artists who are getting under the radar:

“In the UK, a new and thrilling jazz movement has evolved. As with Lamar, Thundercat and Washington, it is born out of fresh experimentalism, is reaching far younger, more diverse audiences and doesn’t care for snootiness. Unlike in previous waves, these musicians are in their 20s and early 30s, come from diverse backgrounds and, as with grime, have created their own community outside of major labels and concert halls”.

PHOTO CREDIT: Unsplash

“…Their music, meanwhile, pulls liberally from other genres, whether hip-hop, neo-soul, UK club sounds such as broken beat, or from the African and Caribbean diaspora. And it’s not just at gigs that you can hear it but, much like in the acid jazz days, nightclubs too. British DJs such as Bradley Zero and Floating Points have liberated jazz for the dancefloor to the extent that it’s now not unheard of for a 10-minute Pharaoh Sanders odyssey to be spun on the decks to an appreciative, twentysomething crowd.

Notable, too, is how prolific this wave is, with jazz musicians infiltrating summer music festival listings, signing to indie labels or taking their sound abroad. The sheer volume of talent is being recognised across the world. “Wherever I’m travelling, whether it’s in the States, Argentina, Japan, or all over Europe, everyone is talking to me about the British invasion,” says DJ and broadcaster Gilles Peterson, who himself helped usher in the acid jazz sound of the mid-80s. “I’ve had people talking about Courtney Pine and Steve Williamson in slightly hushed tones, but I’ve never had this before. They feel this is a very important movement”.

New British Jazz stars like Moses Boyd have seen the changes in Jazz coming. He looks at technology’s role and how it has brought the music to a wider audience. We are now allowed to see the personalities of Jazz artists through social media – audiences get a better grasp of the inner-workings and how the music comes together; where it comes from and the sub-genres it brings in.

They (modern British artists) are not playing to standards and repeating what has come before: they are taking the history books from the masters and rewriting it in their own vision. Jazz allows British artists to talk about their culture and upbringing; add a distinct and personal stamp to a style of music that is still misunderstood and maligned. Sheila Maurice-Grey, in the article I have just quoted, talked about her experiences:

“She says the jazz world at large is closed off “and that’s a big problem”. She belongs to a seven-strong, mostly female collective, Nérija, and says, “most of our audience is basically white, middle-class [and] upper-class, elderly people. It’s cool, but that’s not what we want to do. In the next five years, we want to play to people our age.” But the jazz establishment is finally waking up to her generation, and Kokoroko are themselves due to play London jazz club Ronnie Scott’s in May. Maurice-Grey thinks there’s still a way to go; Scott’s is “trying to develop a new relationship with different artists, it’s interesting,” she says, one eyebrow raised – but she’s ready for the test of trying to make a seated dinner club get up and dance. “The audience is very much part of the show,” she says. “There’s no us and them. It’s more about collaborating to make it magical. We’re all part of this journey”.

There are, also, differences between the London and Manchester Jazz scenes. In Manchester, the genre is more spiritual and has a different ethos. Artists here have a different style and character; Jazz is a genre that can change its shape and aura depending on which part of the country you travel to. Many of us associate Jazz with male players. Nubya Garcia is one of the few female brass players who one can see in the contemporary Jazz movement. She reacted to this statistic:

“People do look at you, and it used to bother me a lot, but I’m trying to learn how to deal with it,” she says. “If you get comments like ‘Whoa, it’s so nice to see a woman on stage’ every time you gig, which I do, eventually you’re like, ‘Godammit!’ It’s not a negative thing, it’s just that person one doesn’t know that person 30 is also saying that. It’s just normal to me, but not normal to everyone else”.

It is clear there is a way to go until Jazz reverses opinions and gets full acceptance. Like Folk and Grime; it is still on the outskirts and has its particular audience. From great U.S. Jazz artists like Kamasi Washington, Thundercat and Kendrick Lamar (Jazz and Hip-Hop) to the British wave; it is clear there is an appetite and new view of Jazz – one not being widely reported in the media. Modern Jazz is much more engaging and political; it has variations and there are so many different cultures and choices. It is not about cold readings and rather listless solos: there is so much energy, story and motion one can discover! If you take a look at the artists defining modern Jazz and evolving its name; you will find something wonderful, intriguing and…

IN THIS PHOTO: Nubya Garcia/PHOTO CREDIT: Jim Aindow

INCREDIBLY moving.

INTERVIEW: Muddy Wolfe

INTERVIEW:

Muddy Wolfe

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I have been speaking with…

Steve from Muddy Wolfe who talks with me about the band’s latest single, Hide Away. I was keen to know whether more material is coming from them; how the group found one another; what the music scene is like in Canberra – Steve tells me the artists he grew up around and is inspired by.

He reveals what he wants to achieve before the end of this year; which musical memory stands in the mind; which uprising artists we should get behind – Steve ends the interview by selecting an excellent song.

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

Hi, Sam! It’s been great! We just released our third single and have been busy trying to promote that. We’ve also been busy rehearsing with the new line-up and things are coming together nicely.

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

Well, we’re a relatively new band; I actually started Muddy Wolfe at the end of 2016 when I was living in Taiwan. One of our vocalists, Caitlin, was in Taiwan at the same time and we did some Jazz gigs together. She ended up joining Muddy Wolfe near the end of my time there.

We’ve both since moved back to Canberra and we’ve started up Muddy Wolfe 2.0! We started out as a Blues band, and we do still do play some Blues, but we’ve been moving in a more Indie Folk direction with tinges of Country and Gospel in the mix.

Hide Away is your new single. Can you reveal the story? What is its background?

I started writing Hide Away when I was still in Taiwan. It’s about being away from home too long and missing my family. It took a long time to finish (like all of our songs) and evolved a little more when we rehearsed it and played it live. It’s our third release and it’s the first song to have a bit of collaboration with the other members.

Do you think there’ll be more material this year? Are you working on an E.P. or other singles?

We’re always working on something new. I’d like to record a few more tunes and release an E.P. that has two of the singles we’ve already released.

Being based out of Canberra; is there a pretty varied and interesting music scene?

Canberra’s scene is pretty good. It’s a small city, so there are only a handful of venues for original bands - which there are a lot of - so it’s hard to get lots of gigs. Metal and Rock is pretty popular as well as Country and Folk music. But, the music scene in general in Australia is great. There are some amazing up-and-coming bands and there are a ridiculous amount of music festivals along the East Coast these days - so we look forward to playing at some eventually.

Can you recall the artists you grew up listening to? Which musicians sparked your ears?

Michael Jackson was, and will always be, a big inspiration for me. The Grunge era was also pretty significant for me as it was what made me want to play guitar. My favourites were Stone Temple Pilots and Pearl Jam. By the end of high-school, I was into some slightly heavier stuff like Metallica, Tool and Deftones. After high-school, I studied Jazz and got into the Blues and Hendrix.

My main influences these days are Doyle Bramhall II and Tedeschi Trucks Band. The rest of the band are different ages and from different backgrounds so we all bring something different to the table - and I hope we will collaborate more in songwriting in the future

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

We’d like to release the E.P., play some festivals and good support gigs for big-name touring bands.

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

Once we get some momentum going, we may do a little tour here and there but, for now, we’ll focus on gigs in Canberra and, perhaps, Sydney.

Will you come to the U.K. and play this year or next?

Haha. Who knows! If we’re super-successful, maybe. The U.K. is very far away!

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

For me, one highlight was playing with one of our vocalists, Caitlin, on her first jazz gig in Taipei, Taiwan. She killed it and has since become a big name in the Jazz scene in Taipei. Very lucky to have her back in Australia to join us again.

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

Would love to support Tedeschi Trucks Band. They’re such humble and amazing people and I’d love a good selection of IPA beer and single malt whisky.

What advice would you give to new artists coming through?

Do music that excites you the most and embrace your uniqueness. Don’t try to be someone else.

IN THIS PHOTO: Rees Lucia/PHOTO CREDIT: Martin Imrie

Are there any new artists you recommend we check out?

Rees Lucia from Sydney is pretty amazing and so is Georgia State Line from Melbourne.

IN THIS PHOTO: Georgia State Line/PHOTO CREDIT: Bailey McNicol

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

Camping when we get the time. Playing music is actually how I unwind.

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).

Midnight in Harlem by Tedeschi Trucks Band is a favourite of ours. We cover this song at most gigs

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Follow Muddy Wolfe

Official:

https://stevierobsmith.wixsite.com/muddywolfe

Facebook:

https://www.facebook.com/MuddyWolfeBand/

Instagram:

https://www.instagram.com/muddy_wolfe/

SoundCloud:

https://soundcloud.com/user-505762459

Spotify:

https://open.spotify.com/artist/4JChLbqp4pX6qrKopdH1I5

INTERVIEW: Olga Polikowska

INTERVIEW:

Olga Polikowska

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THE stunning Olga Polikowska…

has been chatting with me about her new track, Ulatuje. I ask the Polish artist about the song’s videos and whether she had a big hand to play in its visuals/direction. She talks with me about her musical tastes and what she plans going forward – Polikowska recommends some upcoming musical talent to look out for.

I ask her whether we will see more material coming; which albums mean the most to her; what she hopes to achieve before the end of the year; whether she relaxes away from music – the songwriter ends the interview by selecting a cool track.

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

Hi! I’m more than good. The previous week passed so quickly and many good things have happened that I couldn’t imagine before. It is still happening and the whole excitement from the premiere is emerging. My mailbox, Facebook messenger and IG inbox are full of messages. I am spending most of my time responding to friends and fans who've heard my debut single and watched the music video.

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

For those who don’t know me and my music, I can say that the best way to get to know me closer is to listen to my single. I can assure you that future songs will be more surprising, fun and moving.

Ulatuje is your debut song. What is the meaning behind the song? Is there a story behind it?

The song was brought to life in about two years. The song evolved with people that were surrounding me and many many situations that had happened during the process. In the meantime, I met a producer, Łukasz Maron, who finally understood my vision of the song. He’s crazy about old-school synths - that’s why you can hear a bit of retro sound in those modern tunes. The whole magic in the song was added by co-producer, Szatt (known from Kroki,) who put together everyone’s vision. For me, the most important thing was to keep the balance between sounds.

The title, ‘Ulatuje’, was not chosen by accident. The next single will be strongly connected with Ulatuje, but you have to wait for that so keep an eye on my socials (smiles).

The video’s visuals captured me! It mixes Goldfrapp and Daft Punk. Was it fun shooting the video?! Did you have a lot of say regarding the concept?

I’m glad that you like it! Thank you for the comparison. I love Daft Punk’s Random Access Memories so it's an honour for me.

What can I say? It’s my first video so I was really stressed about it. To be honest, I’m not really interested in music videos; I don’t need to watch them to feel the music. Firstly, I had to do my homework so I watched YouTube for many hours. On the video set, I felt that this is a once-in-a-lifetime opportunity so I have to do my best. I wanted it to be perfect, so as you can imagine it was stressful and really hard work.

Regarding the concept; every decision was common. I spent many hours with my manager, Ania, disputing regarding inspirations - more importantly, my opinions with regards to the best choreographers and dancers, Adam and Anita. Thanks to them, the video is stunning.

How important is producer Szatt regarding your current direction and sound?

The presence of Szatt is invaluable. He was sent the tracks and he just spiced it up. I already knew his style and sounds he produces, so I knew that my ‘work’ was in good hands. Mainly, though, he added freshness and took out details which I didn’t find interesting. He took a third look at our compositions.

Is there going to be an E.P. following next year? Might we hear more material?

We’re planning to release my E.P. early next year. I hope that, next year, you’ll be able to buy my C.D. Time will tell (smiles).

I get a sense you are inspired by Pop of the 1980s and artists like Moon Boots. What sort of music influences your own sound?

I truly can’t specify what sort of music influences me. When I was younger, I loved to listen to Polish Hip-Hop f.ex., Fisz or Łona. My favorite artists are Andreya Triana, BANKS; Gregory Porter or Kwabs. But, I like to chill listening to Paul Kalkbrenner or Quantic. As you can tell, I am inspired by a variety of sounds.

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

I’m truly happy with what I achieved in 2017 that I don’t want to be overly-demanding towards fate and karma. A year ago, I’d set a goal to myself to make this year a breakthrough and it happened! I wanted to be sure that I’m in the right place at this stage. I hope that next year I’ll be standing at big and small stages playing gigs. Although, I’m kind of an artist who loves connecting with a small audience in intimate surroundings.

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

The first one that I can think of is when I was six and I won a toy truck in a singing competition (winks). But, the biggest break of my life was when my boyfriend bought me a real microphone on my twenty-fourth birthday. He made me believe that I have a voice and he supports me. I’ve got a lot of memories but I’m looking forward to making some new ones.

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

Only three?! It’s impossible for me (smiles).

My first absolute favorite would be Bonobo. The albums Black Sands, Animal Magic; The North Borders, or Migration can’t be passed by indifferently. They’re my absolute love. I’m crazy about the combination of Electronic music with real instruments, unpredictability of sounds or looping, pulsing pitches. It’s so, so damn good.  

Secondly, my heart belongs to Jose James. I adore his chill and deep voice. Jazz and Hip-Hop grooves are the perfect combination. The last album is Mirrorwriting by Jamie Woon. A mix of Soul singing, modern R&B and a bit of melancholy gives a nice piece of music art.

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

For now, my dream is to meet Sohn. Recently, I was at his concert and it was awesome. Every single part of it was perfect. It’s the best way to learn from the best ones! So, I set the bar really high.

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

I hope so! For the musicians, the most important thing is to showcase their talent live. So, we’re looking forward to the moment to be on a real stage. Stay tuned (smiles).

What advice would you give to new artists coming through?

I don’t think that I’m the right person to give any advice. But, the most important thing is to listen to yourself and keep your eyes open.  

IN THIS PHOTO: So Flow/PHOTO CREDIT: Len La Lune Photography

Are there any new artists you recommend we check out?

Of course! If we’re talking about Polish debuts, check So Flow! They’re amazing and I’m a true fan of them. Do I have to introduce Kasia Lins or Rosalie.?

IN THIS PHOTO: Kasia Lins/PHOTO CREDIT: Sonia Szóstak

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

I don’t have to unwind because music relaxes me! At this moment, there is a lot going on around me but I’m planning some quick time off to boost up my batteries and to be close to nature.  

 Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music – Sure!

Rhye - Count to Five

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Follow Olga Polikowska

Facebook:

https://www.facebook.com/polikowskaolga/

Twitter:

https://twitter.com/OPolikowska

Instagram:

https://www.instagram.com/olgapolikowska/

YouTube:

https://www.youtube.com/channel/UCz-JSF0d-9-0U8OwrH84SzA

INTERVIEW: Kate Kelly

INTERVIEW:

Kate Kelly

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I have been speaking with…

the incredible Kate Kelly as she discusses her new single, Honey, and what its story is. I ask her what it is like being in Nashville and whether she gains inspiration from the city; what we can expect going forward in terms of new material – she recommends a rising artist worth keeping an eye out for.

I ask Kelly what she hopes to achieve by the end of the year; what sort of music she grew up around; whether there will be any tour dates coming up; if she will come to the U.K. at some point – she provides some useful advice for artists emerging.

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

Hi, Sam! I’m doing great; thanks so much for having me. It’s been a super-busy week with the release of Honey, but so exciting to put new music out into the universe.

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

Kate Kelly here - singer-songwriter in Nashville, TN, but originally from Mobile, AL. I’ve loved honest songwriting for as long as I can remember - music that tells a story but also has a sweet groove. So, I try to accomplish exactly that in my own sound; merging Jazz, Blues and Folk styles with heartfelt lyrics.

Honey is your new single. Can you reveal the story and how it came together?

Honey came along at a time when I needed her most. I was in a place where I was taking myself a little too seriously and longing to feel at home within my own person. So, writing Honey was so much more than writing a new song- it was writing a new feeling into my life experience.

When Honey appeared within me, I found a version of myself I didn’t know existed. The song brought with it a new-found sense of self that was sassy, independent and empowered in her truth. I still use Honey to remind myself to embrace my authenticity and independence, which is my biggest hope for listeners as well.

Do you think there will be more material coming in the next few months? How far ahead do you look as a songwriter?

Oh, yes! I’ll be releasing two more singles in the next few months and then my first full-length album in October. Keep your ears open!

I try to keep a balance of planning ahead while also letting life and luck run their course. I typically set musical goals for each month of the year and, as I meet them, I let them evolve based on what life throws my way.

I hear elements of R&B on Honey. Do you take a lot of inspiration from R&B artists past and present? What sort of music did you grow up around?

I was listening to a whole lot of R&B when I wrote Honey, hence the inspiration you hear. But, I really feel inspired by several genres of music, which I think you’ll hear in my upcoming album. I grew up with parents who loved '70s Folk and so that will always have a deep place in my heart.

Though, as I grew up, I began developing my own musical taste and I found a deep love for Jazz, Blues and Soul. All of the above weave their way into my sound in unique ways.

Nashville must be a great city to perform and write in! How much do you take from the sounds and people around you?

I truly can’t believe the talent in this city! I feel SO lucky. I go to see live shows a lot and it’s a huge source of inspiration for me. I’m especially moved by the badass women making music here!

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

I hope to be touring my upcoming album The Wonder of It All which is in the works as we speak! Wooohoo!

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

I work as a music therapist in a psychiatric facility as my day job. It’s incredibly moving to see music work its healing nature into people in such emotional agony. I’ve had so many moments where music brings people out of their pain and into a new perspective and I wouldn’t trade those memories for anything in the world.

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

Joni Mitchell - Blue

Norah Jones - Come Away with Me

Feist - The Reminder

These three albums have shaped me and my writing more than any other musical influence. All three represent such a feeling of catharsis and solace to me. They are so dear to my muse that I can barely put what they mean to me into words.

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

I think what Laura Marling is working on is really neat and I’d love to tag along on tour.

The only thing I’d put on my rider that I can think of at this moment is some mint chocolate chip ice cream. Priorities, right?! Haha. I’m notorious for seizing any opportunity that involves ice cream.

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

YES! I am so excited for a tour. I kick things off in October and will be going all over the Southeast and Northeast U.S. to start. More dates to come in 2019. All tickets at katekellymusic.com

Might you come to the U.K. and play in the future?

I’m hoping to do a Europe tour in the summer or fall of 2019. No details yet but it's been a dream of mine for a while now and I’m ready to make it happen!

What advice would you give to new artists coming through?

Don’t be afraid to be honest and vulnerable. Especially lyrically. There is an indescribable power in this that is worth seeking.

IN THIS PHOTO: Julianna Zachariou/PHOTO CREDIT: Caia Grace Matthews

Are there any new artists you recommend we check out?

Check out my friend Julianna Zachariou. Her songs will blow you away!

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

I wind up with music and wind down with music. I don’t really feel like I need any time away from it! But, I do love yoga and taking mindfulness walks.

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).

Sleepwalker (Demo Version) - Emily King

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Follow Kate Kelly

Official:

https://www.katekellymusic.com/

Facebook:

https://www.facebook.com/katekellymusic/

Twitter:

https://twitter.com/katekellymusic_

Instagram:

https://www.instagram.com/katekellymusic/

YouTube:

https://www.youtube.com/channel/UCPKXeKafhDeoPotwuavb-wA

Spotify:

https://open.spotify.com/artist/25qvzGCp2vdKFLjVCcypHs

SoundCloud:

https://soundcloud.com/katekellymusic

PHOTOS:

Abby Weeden Photography

FEATURE: You Ain’t Seen Nothing Yet… Big Albums Due Before the End of the Year

FEATURE:

 

 

You Ain’t Seen Nothing Yet…

PHOTO CREDIT: Unsplash 

Big Albums Due Before the End of the Year

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WE have already witnessed some pretty meaty…

IN THIS PHOTO: Anna Calvi

albums and been treated to some right beauties in 2018! We are in August and, whilst the summer looks like it might be slipping away very soon, we have music to keep us warm and occupied for as long as we need. If you are getting ready to collate your end-of-year ‘best albums’ list already then you might want to stop in your tracks and consider music’s golden rules. For one, you can never decide which albums are the best of the year until the start of December – artists do not really bother that close to Christmas and many wait until the following year! You can also never trust the ‘expected releases’ lists because, as the name implies, they are the ones that have been announced. You always get these sneaky artists that drop something from nowhere or give you no notice. You never know who might release an album before the end of the year! We might get a retiring icon bringing something out; another album from someone who has already released one this year – you never can tell what will happen. That said, given this might need to be revised at some point, here are the known and expected albums that you need to save your money for. Get out your pennies, note the dates in the diary and ensure you keep your 2018 music horizons…

READY and open!

ALL PHOTOS/IMAGES: Getty Images

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Nicki Minaj – Queen

Release Date: 17th August

Animal Collective – Tangerine Reef

Release Date: 17th August

Death Cab for Cutie – Thank You for Today

Release Date: 17th August

Alice in Chains – Rainier Fog

Release Date: 24th August

Mark Lanegan & Duke Garwood – Wild Animals

Release Date: 24th August

Anna Calvi – Hunter

Release Date: 31st August

Tash Sultana – Flow State

Release Date: 31st August

IDLES - Joy as an Act of Resistance

Release Date: 31st August

Lenny Kravitz – Raise Vibration

Release Date: 7th September

Paul McCartney – Egypt Station

Release Date: 7th September

Paul Simon – In the Blue Light

Release Date: 7th September

St. Paul & the Broken Bones – Young Sick Camellia

Release Date: 7th September

Pale Waves – My Mind Makes Noises

Release Date: 14th September

Paul Weller – True Meanings

Release Date: 14th September

Christine and the Queens – Chris 

Release Date: 21st September

Cypress Hill – Elephants on Acid

Release Date: 28th September

Cat Power – Wanderer

Release Date: 5th October

John Grant – Love Is Magic

Release Date: 12th October

Elvis Costello & the Imposters – Look Now

Release Date: 12th October

Yoko Ono – Warzone

Release Date: 19th October

The Prodigy – No Tourists

Release Date: 2nd November