FREE
MAR/APR 2019
LDN LDN
THE NEXT GENERATION OF TASTEMAKERS
Ă INE CAHILL orla gartland country ldnmix sam tompkins reviews atomic kitten generation next firestarter
TEAM LDN
the tastemakers
BIMM LONDON - MUSIC JOURNALISM STUDENTS
ASH
CONNOR
JOHN
LARISSA
AL
ABI DANI
JACK
LIBBY
NARGIS
PHILIP
TOM
NOA
LDN MIX
bimmlondonmagazine@gmail.com LDNmagazine.com @LDNmusicmag
SCAN ME!
MARIA
WELCOME NOTE
“There’s nowhere else like London. Nothing at all, anywhere.” - Vivienne Westwood This is another brilliant month for LDN Magazine. The team works hard to get the best of the best for your eyes only! This issue we’re stepping away from the heavier side we showcased upfront in our February issue, and presenting you with a little bit of Pop, plus lots more besides. With the ever-evolving Spotify playlist LDNMIX as another part of the LDN portfolio, (that you can scan straight into from the QR code on the left) you are in for a treat. We have singer-songwriter Áine Cahill as our cover star and main interview, plus chats with more LDN faves: Sam Tompkins and Orla Gartland. Our resident expert John has contributed a Guide to Country Music and not forgetting our monthly regulars including Reviews, Generation Next, and Firestarter. With such content in our print magazine, can you imagine what’s on our website?! Head over to ldnmagazine.com for more exclusive content from us - the next generation of tastemakers. With that being said, let your peepers have a peep at what’s in store on the following pages.
CONTENTS 4 ÁINE CAHILL 7 PLAYLIST: LDNMIX 8 SAM TOMPKINS 9 ORLA GARTLAND 10 GENERATION NEXT: NEW MUSIC 12 FEATURE: JOHN’S GUIDE TO COUNTRY MUSIC 15 INTRODUCING: MALENA ZAVALA 16 REVIEWS 18 HISTORY LESSON: ATOMIC KITTEN 19 FIRESTARTER
Larissa Harrington
[I]n [C]ase [Y]ou [M]issed [I]t With every print issue, we strive to create fresh content on other LDN platforms too. Hit up ldnmagazine.com for our photo feature of Team LDN’s first/favourite records - shouts to snapper Henry Nash (IG @henryjgn). The Fever is spreading: LDN Magazine is now distributed further afield from its Fulham home, you may have spotted our Fever 333 cover while out and about in Camden, Shoreditch and Oxford Street.
ÁINE CAHILL
COVER FEATURE / 5
Rising Irish singer-songwriter Áine Cahill [pronounced awn-yah] was propelled to stardom after wowing a Glastonbury audience that included a senior music biz exec who had the smarts to ask the talented artist to perform a live BBC TV session. She’s continued to mesmerise audiences further afield with her jazzsoaked vocals ever since. Philip Giouras caught up with your new favourite songstress to talk about her newly-released EP Blue Valentine, its spectacular accompanying visuals, and her 1950s inspirations.
H
ow did you get into music? I was always really sporty and I would play loads; but when I turned 16 I really got into Lady Gaga. I remember hearing an acoustic performance she did of one of her songs and I was like, “Oh my god! I want to play the piano,” and I did. When I was 18, I started writing my own songs because I was/still am, to do this day, bad at opening up to people and expressing my feelings, but I am able to through music. The reason I started writing music and singing was to express myself.
I love movies from that time period. When I first started singing, my guilty pleasure shower songs were all Marilyn Monroe soundtracks. I would sing them all the time. That’s also when I first started writing music, so the songs soaked up that style of singing and their melodies. No matter what I’m singing though, my voice always lends itself to sounding quite vintage anyway - it just sounds like that without even trying to.
Your songs ‘The 27 Club’ and ‘Black Dahlia’ are quite dark tales. What draws you to those subjects? American Horror Story inspired How would you describe your sound for someone who me for ‘Black Dahlia’. That’s hasn’t heard of you before? the type of thing I love to watch. I’m obsessed with crime Someone tagged me in an Instagram story and described my documentaries and all that. Obviously, ‘Black Dahlia’ is not new single ‘Blue Valentine’ as a “sad bop” and that is literally my about me but you can relate some music… I am sad bop! Some songs of the lyrics back to myself in a way, too. What I do is, if I really are sad bops and then some are like something - like the story of full of attitude - but in a fun way, Black Dahlia - I’ll then write a not a malicious way. song but there will also be an undertone of my own experience Some of your tracks have in it as well. That’s what I try and a vintage, smooth jazz feel do: tell my story using someone - where has that influence else’s as a vehicle to tell my own. come from?
Talk us through the concept behind your recent ‘Blue Valentine’ video [Ed: Watch the excellent video, then this will make more sense.] [Laughs] Let me go through everything: the flower was edited in, the bleach was dyed water so the motorbike was fine, but the laptop was very real. We had one take for that scene where it falls into the water, so I had to rehearse with this plastic thing. During the filming, as soon as the laptop hit the bottom of the fish tank, the screen cut off and everyone was so happy because that’s what we wanted. I was performing the chorus and the screen started flashing in the background - you couldn’t write that! The granny’s name is Vivienne, she’s an iconic actress who’s been acting for 50 years and been in loads of stuff. She's wearing a wig, it’s not her real hair!
What advice would you give to a young musician starting out? That was me! It’s so scary when you’re starting off. I had no knowledge of the music industry, no link. None of my parents or family were in the music industry so I was just like, “Where do I even start?” Some of the most important things are to take your time, have a good team around you and to just write good songs. And then also social media; you have to play the social media. That’s a huge part of it. What can we expect from an Áine live show? Expect banter from me on the stage! When I’m singing live I want to be on point in terms of vocals. Hopefully there will be a surprise on the night of my London show as well... Áine Cahill plays London’s Paper Dress Vintage on 26th March.
ÁINE'S ADVICE 1. Take your time Know exactly what type of music you want to make, what genre. Have a fully realised idea about what type of artist you want to be because if you do it too soon you can’t really take things back. 2. Having a good team around you or even a manager to start with is a big help because they have the experience and they know what they’re doing. It adds a level of professionalism to what you’re doing. 3. Just write good songs Writing your own music is what you have to focus on because if you don’t have the songs, what do you have?
“
“
Writing your own music is what you have to focus on. If you don’t have the songs, what do you have?
LDNMIX
PLAYLIST / 7
The world is becoming cross-pollinated with music tastes and interests. At LDN we are here to showcase just that with our recommendations ranging from the most powerful musical numbers to the new MCs and artists down the road and across the ocean. Don’t forget to check out our Spotify playlist LDNMIX to inspire you to discover a new obsession.
MUSICAL THEATRE
ABI
Whether it’s a belting solo, a complex group number or a love duet, every musical has a fabulously emotional or energetic song that stands out above the rest - and here are a few of my favourites. Don’t agree? Tell me why on Twitter! @scaifeabi I’D GIVE MY LIFE FOR YOU - MISS SAIGON | BLUE - HEATHERS ANYTHING GOES - ANYTHING GOES | FOR GOOD - WICKED CAN’T HELP LOVING THAT MAN - SHOWBOAT
WORLD
AL
‘World Music’ is a strange phrase. As people of the world, isn’t all music technically worldly (unless you’re Sigur Rós, in which case you have my permission to classify as otherworldly)? Nevertheless, I have a not-so-secret adoration and it’s my pleasure to share with you five ultimate grooves from across the globe. BUL MA MIIN - ORCHESTRA BAOBAB | PLANKTON BOOM - KHANA BIERBOOD TIMTAR (MEMORIES) - BOMBINO | TATA - DJ KHALAB & BABA SISSOKO DJOUGOU YAH Ft. AHMED SOSSO - LAOLU & MR. RAOUL K
NEW WAVE GRIME
TOM
Grime is a vibrant genre, despite seeing a brief demise, its resurgence is evident. London is rife with fresh talent, and these tracks from the new wave portion of the genre are just a taster of the fresh sound artists are pushing. Take some time to educate yourself on the new generation of grime talent. COOL. BLESS. SAFE - FINN FOXELL | GET AROUND - AMMI BOYZ DAY 2: ALPHA - SNOWY | TALK THAT STUFF - MEZ & HALO ERICSSON - FINN FOXELL
HARD ROCK
JACK
Some wouldn’t define hard rock as a whole genre, but a plethora of combined sub-genres. The truth is, long as it’s got a colossal, firework chorus, a memorably loud guitar hook and an excessive solo, it counts. That’s the way we love it though! Here are some tracks to get the adrenaline pumping. ROCKIN’ WITH THE BOYS - ACE FREHLEY | SOLID GOLD - THE DARKNESS BIG RED GUN - BILLY TALENT | DANCE MACABRE - GHOST KILLING OURSELVES TO LIVE - HALESTORM
8 / INTERVIEW
SAM TOMPKINS Fresh from signing with Universal Music’s Island ecords, UK B up-and-comer Sam Tompkins chats to LD ’s Larissa about his music, advice for creatives and future plans.
With that subject in mind what’s an ortant essage you want to onvey to your fans? Be yourself, don’t compromise for anyone. A problem shared is a problem halved. If you’re feeling low or you’re feeling something negative inside of you, let someone know. Even if it’s really fucking hard to talk about it, you have to do it. It’s not worth the hassle of potentially feeling really rubbish for days, weeks, even months.
What’s the best song you’ve released? ‘Follow Suit’ - with this song, it was the first time I felt that when I release it, it’s going to be a piece of my heart. I felt nervous about releasing it because it was so personal, I realised it unlocked something within me. The story is about a close friend who died by suicide, so when you’re putting something out like that, it’s a piece of your own life going out there, then everyone knows and it can’t be taken back. How did you feel once the song was released?
“WITH FOLLOW SUIT I FELT LIKE I HAD RELEASED A PIECE OF MY HEART”
It’s hard to dislike a song because you already fuck with the artist. You want to know about their story and you care about them. My fans are really good at doing that very caring. They’ll check on me to see if I’m okay. I knew it would be received well. That song is very open and I didn’t hold back on anything. If you’re writing about something that means a lot to you and it almost makes you cry, it’s going to make others do that, make others remember that song.
What’s your adv e for those try ng to brea through n the us ndustry? As an artist or a creative, don’t change for anyone else. Do your own thing and eventually, if you get good enough, everyone else will start watching and you will progress.
What are your plans lans for the future? Write songs for other people and release all the songs that I’ve already got. There are so many! ollaborate with as many creatives as possible and make some good visuals - they’re really important. Also, playing shows as much as possible. I’m doing some festivals this year, which is going to be exciting. Single ‘ ollow Suit’ is out now.
Photo credit: Caleb Desouza
I think when people listen to it they’re going to check on their friends. And that’s amazing.
How would you describe your sound for anyone that hasn’t heard of you? For the first part of my journey I loved Bnot just making pop records. As time’s gone on, I realised the vulnerable songs are where my heart is right now and I want to put an B take on that sonically. So it’s almost Lo-Fi B, Lo-Fi alternative. There’s a versatility to what I do.
INTERVIEW / 9
ORLA GARTLAND During rare time off in the middle of tour support for dodie, Irish singer and songwriter Orla Gartland snatched a chat with Maria Galea about her musical beginnings, songwriting and her upcoming headline tour. “For the first time, I feel really confident in my live show,” she beams. What can one expect? Well, performing without her guitar for one of her favourite songs, ‘Between My Teeth’ something she never does. After a few years without a release, the past few months have been incredibly positive for Orla, promising an even brighter 01 . Best of all, she is grateful for her fans: “Making a living as an artist is not something everyone can do, I’m forever impressed with how fiercely loyal the people who follow me are.” Single ‘Why Am I Like This?’ is out now. Orla’s tour stops at London’s Omeara on 17th and 18th April.
“I HAVE NO IDEA WHERE THIS INSUFFERABLE CONFIDENCE CAME FROM. I JUST WANTED TO SHOW THESE SONGS TO SOMEONE”
Photo credit: Dom Manderson
O
rla’s introduction to music was in a music shop in Ireland, where her parents took her to choose an instrument. Her choice was a violin. Later on, she started learning the guitar, an instrument you never see her without on stage. The budding artist began writing songs aged 14 but couldn’t play gigs as all open-mic nights in Dublin were for over-18s. Faced with that restriction, Orla turned to a different platform to perform her work: YouTube. She notes how good it felt in those days that despite the low production value, there was no pressure. “I have no idea where this insufferable confidence came from,” she says. “It definitely wasn’t rooted in anything good at the time. I just desperately wanted to show these songs to someone.” Eventually Orla was contacted by an industry executive about management. “I wasn’t touring with people or anything,” she reveals, “it gave me permission to take it more seriously.” After school, she decided to take a gap year to pursue music. “I’m on my fifth gap year,” she jokes. It has clearly worked out to be a wise choice. After moving to London, the Irish artist started to write with friends - her publishing deal encouraging her to write songs not only for herself, but for other people too - something she welcomes, accepting that “the more you hone in on your sound, the more limited it becomes creatively.” Writing for other people helps alleviate that issue and has taught her new techniques to use for her own songwriting methods - to which she references her experience co-writing BTS song ‘134340’ (which made the cut on their smash album, Lo Love e Yourself: oursel Tear) as “a really cool thing to be involved in.” This has given her more faith in the songwriting processes and more confidence, which can definitely be heard in her newer songs. I ask for the craziest collaboration of her dreams, to which she laughs and says, “Post Malone, that would be interesting!” When Orla writes for herself, she likes to start it off with an intention. Her latest single, ‘Why Am I Like This?’, is her most mature but also self-reflective, which seems to be a vibe she’s enjoying - although she’s keen to point out it’s still “mega pop”. For now, Orla is working with her new bandmates, Pete and Sarah, ahead of her headline UK and Ireland tour.
10 / GENERATION NEXT: NEW MUSIC Top track: WALL OF WORDS
marzella
TIPPED BY LDN’s NOA
Swiss/Italian/Irish duo Marzella redefine creative boundaries with their intricate, multi-lingual lyrics and mix of indie and folk-rock. The Switzerland-based musicians met at school, studied at BIMM, and have been establishing themselves as thriving, independent artists - their music an honest reflection of their evolution. Marzella’s sound unveils a perfect balance of sweetness and power. The duo have been touring and releasing music relentlessly. After their first two successful releases, Marzella are dropping a new EP in 2019 and taster singles ‘Lovely Bird’ and ‘Wall of Words’ are out now, to delight you in the meantime.
Top track: PAST PLEASURES
funktional
Photo: @henryjgn
TIPPED BY LDN’s TOM
Reece Jarrett, better known by his pseudonym, Funktional, has begun making a notable dent in London’s drum & bass scene. For those that know him, commitment is an understatement. Predominantly a DJ, he hosts shows for radio stations such as Subtle FM and Dose Radio as well as performing across London. He also spends his time perfecting his craft as a drum & bass producer, plucking influences from the likes of Calibre and Alix Perez. With events for his B02 label lining up, notably a day party this April, 2019 is set to be a big year for Funktional. In the meantime, I know you will enjoy his latest Past Pleasures mix.
Top track: SHAKE SHAKE
rews
TIPPED BY LDN’s JACK
There’s no procrastination from Rews; flamboyancy begins from the opening note and remains explosive until the end to create a plethora of catchy, alternative rock songs. The ‘female Royal Blood’ have recently released their debut album Pyro as well as graduated from support sets with established acts such as Halestorm. Their opportunities and reception indicates the future’s looking bright for Shauna and Collette of the London/Dublin duo. The amplified, memorable choruses sprinkled with hefty hooks definitely show that they are worthy of the hype.
GENERATION NEXT: NEW MUSIC / 11 Top Track: NARCISSIST FT. THE 1975
TIPPED BY LDN’s LIBBY
no rome
With hazy, atmospheric electro-pop fresh from the budding music scene of the Philippines, No Rome’s resolute ambition outgrew his hometown Manila and he flew to London. Here, the impact of fellow Dirty Hit labelmates The 1975 became evident. His debut EP oozes nonchalant adolescence, with breakthrough collaboration ‘Narcissist’ featuring The 1975 racking up 25 million Spotify streams at the time of writing. Add to that securing a place on the Music For Cars tour following co-production with Matt Healy and George Daniel on ‘Do it Again’, this 23-year-old is set for commercial success.
Top track: BREEDING FILTH
TIPPED BY LDN’s ASH
god complex
Spawning from the grit of Liverpool, God Complex have fused dark hardcore and mathcore with vicious vocals to create their latest EP, Created Sick. Hard working and explosive, they cover aggressive and resonating themes of domestic violence, religion and warfare with edges of dystopian sonics. Carrying the familiar chugs and relentless pace of the growing Northern hardcore scene, their sound delivers itself live magnificently. God Complex’s display of impressive musicianship has them avoiding the category of ‘just another rock band’ and ensures their development at the roots of this new wave of alternative.
Top track: 2AM
TIPPED BY LDN’s NARGIS
room 94
Hertfordshire brothers Room 94 have clocked up three UK Top 40 albums - two of those, admirably, without a record label. This is just the beginning for the pop/rock trio. Much like Bring Me The Horizon and Paramore, the band have evolved and so has their music. Having previously gained inspiration from Blink-182, All Time Low and Fall Out Boy, with explosive guitars and anthemic choruses, the band have infused more electronic/synth sounds into their music; still holding onto elements of the Room 94 vibe that has proven successful over the years. Keep your eyes peeled, 2019 is looking promising for them.
LDN
12 / JOHN'S GUIDE TO COUNTRY MUSIC
“Country music was formed from the concept of storytelling, real people singing about real life problems.”
JOHN’S GUIDE TO COUNTRY Country music is often tainted with the ill-informed notion that the scene is full of knee-slapping hillbillies singing about trucks and women. However you perceive it, country is making a comeback in a huge way. With critics’ darling KACEY MUSGRAVES recently winning all four Grammys she was nominated for (including top honour Album of the Year) and the annual C2C COUNTRY TO COUNTRY FESTIVAL growing continually, there is an insurgence of country music in the UK. Here’s everything you need to know about this trendy genre.
HISTORY
Contrary to popular belief, country music has been one of the biggest genres in the Western world since the 1920s. Disregarding a few minor falls in popularity, the genre has stood the test of time, adapting and finding its place within popular culture.
At its core, country was formed through the concept of storytelling - real people singing about real life problems - hence the stereotypes. People relating to tales of drunkenness, adultery and small town life leading to the popularity of the music.
Early innovators Jimmie Rodgers, Hank Williams and Kitty Wells led the pack. Sonically, you’d find the music riddled with fiddle, guitar, banjo and pedal steel but over the decades that sound evolved, leading to an endless genre debate.
JOHN'S GUIDE TO COUNTRY MUSIC / 13 such as Patsy Cline, Loretta Lynn, Glen Campbell and Tammy Wynette, who would go on to define what is now referred to as classic country. In the mid-70s, fed up with the perceived ‘selling out’ of Nashville artists, artists like Willie Nelson, Merle Haggard and Waylon Jennings decided to go against the grain by growing their hair out, burning their suits and singing about whatever they wanted. This is referred to as the ‘outlaw movement’.
KACEY MUSGRAVES
THE GOLDEN AGE
In 1979, the John Travolta flick Urban Cowboy influenced a movement that continued into the 80s, where the primary focus was easy listening and crossover appeal. This saw singers like Dolly Parton flourish, while the outlaws of the mid-70s saw a wane in popularity. While a lot of the music released in this time was considered disposable, artists like George Strait (often referred to as the king of country), Alabama and Reba McEntire emerged during this period and their legend endured over decades.
The golden age of country (the 60s, 70s and 80s) saw it undergo several major transformations. Throughout the 60s, country acts were perceived as perfect, all-American icons, THE NINETIES suited and booted in their ONWARDS rhinestones and Western Aside from the success of wear, with the only major grunge, R&B and bubblegum sonic change pop, the being a 90s witnessed tidy-up on iconic artists “Artists of yesteryear the grittier like the aren’t forgotten, sounds that Dixie Chicks, sub-genres allow every came before. Garth Brooks, incarnation of country to This decade Shania Twain be appreciated.” introduced and Tim us to giants McGraw
come to the forefront and reach peak crossover success. Later, artists took inspiration from popular music to create the pop-country that rules the airwaves today, yet the artists of yesteryear are not forgotten. Several sub-genres like southern rock, Americana and country singer/songwriter allow every incarnation of country music to be accessed and appreciated. If you think you don’t like country music, you probably just haven’t found the right artist.
“People relating to tales of drunkenness, adultery and small town life led to the popularity of country music. “
SHANIA TWAIN
14 / JOHN'S GUIDE TO COUNTRY MUSIC
CHRIS STAPLETON
FOR A FIRST TIMER Golden Hour - Kacey Musgraves | Traveller - Chris Stapleton | Pawn Shop - Brothers Osborne Painkiller - Little Big Town | Hero - Maren Morris | Taking The Long Way - Dixie Chicks
CLASSIC COUNTRY Hey Good Lookin’ - Hank Williams | It Wasn’t God Who Made Honky Tonk Angels - Kitty Wells Fall To Pieces - Patsy Cline
90s COUNTRY In Low Places - Garth Brooks | Check Yes Or No - George Strait You’re Still The One - Shania Twain
OUTLAW COUNTRY Misery & Gin - Merle Haggard | Folsom Prison Blues - Johnny Cash Guitar Town - Steve Earle
JOHN’S TOP 10 Follow Your Arrow | Kacey Musgraves
Hush Hush | Pistol Annies
Blanket on The Ground | Billie Jo Spears
Kerosene | Miranda Lambert
You Win My Love | Shania Twain Landslide | Dixie Chicks
Stand By Your Man | Tammy Wynette This Town Still Talks About You | Natalie Hemby
Islands in The Stream | Dolly Parton & Kenny Rogers
Boondocks | Little Big Town
INTRODUCING / 15
MALENA ZAVALA When Malena Zavala sings, it sounds like a hazy, summer evening glow, all murky and delicate. Her indie folk songs are alluring in their intimacy, showcasing a wide range of artistic capability and promise. Al Mills spoke with her (unfortunately not present up a mountain) before she embarked on her EU tour. Hey, Malena; where in the world are you right now? Right now, I am up in the Andalucian mountains, just outside of Tarifa, Spain. I adore your debut album Aliso. What was your mindset whilst writing the record? Aliso was a whirlwind for me; I can’t remember making it. It was a catharsis of events that had built up before summer 2016, ending up in me manically learning how to write and record music within a few months. It was a combination of obsession with writing and producing and a desire to prove my self-worth. Do you keep any sentiments with you whilst writing/recording to help inspire? The main thing writing this record was that all the songs are paired with a memory or visual idea I had. It’s hard for me to write music without visual reference; I make experimental short films and do all my music videos. Is there a distinct influence behind your approach to writing? Definitely a load of different influences. Every decision made is influenced by artists I love. For example, if I’m stuck on a transition between a verse and a chorus I think, ‘What would Devendra Banhart or Beach House do?’. I slowly learn by what others have done and incorporate it into my own style.
You’re about to go on a uro ean tour with some festival esti al dates. dates Do o you have ha e a preference re erence between playing laying venues enues or festivals? esti als? Definitely venues. Festivals are super fun, but it’s a lot of stress and logistics. When you have a gig in a venue, it’s all organised and you know what you’re doing. I love that you get to see other bands at festivals though. I often get to play festivals that my friends are playing at, so that’s cool. IIf there was anywhere in the world you could perform, er orm, where would it be? Somewhere really hot... South America. Album Aliso is out now. Malena Zavala plays London’s Moth Club on 24th April.
Photo credit: Charlotte Patmore
You’re signed to Yucatan Records, who are pretty rad. Was there a moment you realised, ‘Fuck, this is all going somewhere’? I’ve not had that feeling yet. I keep my expectations low as a sort of defence mechanism. It’s super early days for me, but the moment I was able to do music full time was big. It was a goal I had in life and once I’d reached that my focus switched to working as hard as possible.
I you weren’t making music, what would you be doing right now? omething creative, probably as a film director/editor, visual artist, maybe even a choreographer; all the things I love doing as hobbies.
larissa
LIVE
As soon as the lights are off and the opening chords to ‘ ome Out to LA’ chime across the DON BROCO arena, the The SSE Arena, Wembley entire atmosphere amplifies. Drummer Matt Donnelly takes centre stage to sing the opening, hyping up the crowd for the show. Settling into playing their top tracks from their latest album, Technology, Don Broco are the band you want to see if you love to crowdsurf. With a short story from frontman ob Damiani about his first time crowdsurfing at a oo ighters gig, he encourages the swarm of standing fans to do the same. After slowing down brie y with ‘Got To Be You’, a singular spotlight highlights the iconic owboy character on a smaller stage in the middle of the audience. Guitar in hand, owboy plays the opening riff to ‘Everybody’, sending the crowd into a fren y. Si Delany takes over and all attention is back to the main stage. With the slapping basslines from Tom Doyle right at the end of the set with ’T-Shirt Song’, the crowd is engulfed with shirtless men and women swinging T-shirts around their heads.
fruitsaladradio is a charming, D Y radio show/passion pro ect from Joe Taylor. Drummer-turned-host and all-round indie sweetheart, Joe threads together an ever-growing patchwork of stories from people across ages, encouraging tenderness between music and memory. With the premise being a fruit salad of diversity - compilations blended together to form a wholesome mi of goodness - fruitsaladradio is able to pair (pear) Graham Nash with sraeli prog rock - and it totally makes sense. f Joe is the cool friend you have that’s always up to date with the latest music, fruitsaladradio is the chat you have with your best mate about growing up. t’s the soundtrack to long drives through Australia and memories of washing up in your parents’ home. or those of us who like a good theme, there’s an episode dedicated to women featuring the likes of herry Gla err, ourtney Barnett and lipstick puns, proving there’s more to radio than the ‘Hottest ecord in the World’ (although if Joe had a breakfast show we would all set our alarms). fruitsaladradio is e clusively for everybody. A little south east London gem with a bright future. Shout out to Joe’s mum and her beats.
al
16 / REVIEWS
RADIO SHOW
JOE TAYLOR
mixcloud.com/fruitsaladradio/
t’s no secret that Ariana Grande has had a hard time. ollowing the death of e -boyfriend Mac Miller back in September, the singer vowed to take a break from music. alling off her engagement to Pete Davidson in the subse uent month couldn’t have been much easier. or many, this might have been the icing on top of the hiatus-shaped cake. Although the singer broke her oath of musical silence in favour of the iconic girl-power anthem, ‘thank u, ne t’, elements of her heartbreak seep through on the hotly anticipated album of the same name. On the surface, the record is dripping in sass ARIANA GRANDE and emanates a sense of new found poise. Dig a little deeper, however, and tracks such as ‘fake smile’ and ‘ghostin’ reveal thank u, next the skeletons still haunting Ariana’s closet. Her outright contradictions are admirable, as the relatable ‘needy’ is directly tailed by ‘NASA’. Trap-infused tracks ‘break up with your girlfriend, i’m bored’ and ‘7 rings’ are highlights, e emplifying the singer’s aptitude to get what she wants. Ariana’s customary impressive vocals are paired with high production values, blending elements of contemporary B with attractive pop hooks. With this, thank u, next is the perfect illustration of how to sei e your moment.
ALBUM
libby
MUSICAL
maria
EP
Taking inspiration from bands such as Nothing, Pity Se and Title ight, Night Swimming have unearthed an English take on the deep and powerful style of their American in uences. n comparison to the thinner production on their previous two pro ects, TV/Clean shows more of a refined and considered approach to songwriting, forming a blend of emo, grunge and shoega e melodies. Appropriately, on ‘T ’, frontman Ashwin Bhandari’s vocals carry huge ambience, similar in tone to that of Michael Stipe. t forms a softer preparation for the highlight, ‘ lean,’ where a harsh scream encourages a vicious chorus. The signature introductory angle of the guitar prevents the uartet from blowing out all sense of melody and helps emphasise its intricate inclusion as the song drops heavier. inding the time to get a balance of the mi sonically, the concept for Night Swimming is promising to say the least. The short but sweet EP is essentially a hopeful taster of a more rounded and fuller sound that can only progress TV/ NIGHT over time.
SWIMMING Clean
LIVE
REVIEWS REVIEWS
The 0s called and they don’t want their band back because they didn’t e ist back then . mind-boggling! With hair blowing, glossy outfits and enough spande to cover a restaurant table, Steel Panther return, this time with their new Sunset Strip Live show. Tonight’s setlist is a mi of songs from their own catalogue and covers from other 0s hair metal heroes such as M tley r e, Bon Jovi and Def Leppard. The songs blend perfectly with Panther’s buoyant, catchy sound. They mean business though, blistering through the set with high energy, tight musicianship and intervals of comedy there’s not one dull moment. Somehow their shtick remains amusing until the end, even with the lowest form of humour, especially with song titles such as ‘Poontang Boomerang’ and ‘Asian Hooker.’ The hyperbole lyrics and performance of Steel Panther remain as a reminder of how fun isn’t as prominent as it once was in that era. This is showcased especially when the Aerosmith-inspired power ballad ‘ ommunity Property’ is played and the audience sing back the obscene, humorous lyrics. t feels as if you’re watching a band on the level of their glam metal fathers. t’s clear Steel Panther achieved what they set out STEEL PANTHER to do; give the audience a The Roundhouse, London party to remember!
jack
ash
Early in February, London’s Adelphi Theatre welcomed the first audience to its latest offering, Waitress. Based on Adrienne Shelly’s 2007 film of the same name, it takes the audience to Joe’s Diner, a pie shop in the American South and WAITRESS introduces three women who work there: Becky Adelphi Theatre, London (Marisha Wallace) and Dawn (Laura Baldwin) and main character Jenna (Katherine McPhee). She is married to Earl, an abusive alcoholic who takes her tips whilst shattering her passion for baking. She eventually falls pregnant with their unwanted baby and later starts an affair with Dr Jim Pomatter (David Hunter), the new OB/GYN in town. Jenna has to make some life-changing decisions regarding herself, marriage and baby. Throughout, the three women show incredible support for one another. The showstopper song, ‘She Used To Be Mine’ is performed by Katherine’s character, showcasing an incredible amount of passion and emotion, so much that the audience give her a standing ovation and a long cheer. With music and lyrics by renowned artist Sara Bareilles, her beautiful combination of sounds and words help tell this story of love, emotion and hardship; making audiences leave the theatre with a smile and feeling of sweetness. And best of all... the show’s creatives are four women!
REVIEWS / 17
HISTORY LESSON
Natasha Hamilton Atomic Kitten Back in the early 2000s, Atomic Kitten were the biggest girl group in Europe. Philip Giouras speaks to one third of the infamous British trio, Natasha Hamilton, about her first auditions, AK’s immense global success and balancing parenthood with pop stardom.
A
n advert in the local paper looking for ‘girls with attitude’ for a new girl group grabbed the attention of Natasha Hamilton’s mum. By the time Natasha returned home from school, she’d been signed up to audition. Little did she know, in that very audition, some of her vocals from it would end up on the final version of her first single release, Atomic Kitten’s ‘Right Now’. Natasha says that the wait to find if she had gotten into the group was agonising, “They were the longest days of my life because it felt special, I loved the songs, I loved the energy of them.” Getting into Atomic Kitten didn’t mean instant stardom though. “It was a bit of a slow burner for the first two years of the band. When Kerry was in it, we had okay success,” she reveals. She was in, but recalls those early beginnings with their accompanying lack of glamour. “We used to stay in these rubbish hotels, finish work at 11pm and be starving. We’d have to go to a petrol station to get sandwiches, and that would be our tea. We’d be popstars in the day but by night we’d be hungry, all huddled up in one room.” A couple of years later (18 years ago!) everything changed for AK. The song ‘Whole Again’ shot to the top of the charts and then the glamour arrived, as Natasha tells, “Everything just went up a million notches. All of a sudden, it was like five-star hotels,
private jets, the biggest music programmes in the world, front row at awards ceremonies. Shooting videos on beaches in South Africa.” Fast forward a few years and AK took a hiatus, with Natasha needing time to focus on her family; “I had toured for years. I had a young baby, I’d suffered with postnatal depression and I wasn’t happy. For me, the right choice was to stop, be at home, be a mum and live some kind of normal life for a little while. I did that and I got out of it what I needed.” Unfortunately, that decision received little support from some of those around her. “I did feel a hostility towards me. People weren’t nice, they weren’t saying to me ‘Oh Tash, you’re doing the right thing, your health is the most important thing,’ people were going to me: ‘You’re making a mistake. You’ll be back in a couple of months,’ totally belittling the trauma I had gone through and what I needed. I didn’t feel supported at all. It was great when we were big but when it all falls apart, you realise who your real friends are”. When the group returned in 2012 for The Big Reunion, however, it was on their own terms; “There was less pressure then. We weren’t doing The Big Reunion to get a record deal or be ‘that big pop band’ again. It was more about the performance and going back to the fans. It was very nostalgic and everyone loved it.” Nowadays, most AK gigs fall on the weekends. “I get to go be a part-time popstar with Liz doing
“When it falls apart, you realise who your real friends are”
gigs every now and then,” which means Natasha gets to pursue other passions such as studying beauty therapy. “I’ve taken myself back to college and I want to have something just for me.” She also shares parenting advice on her blog, Gurgles and Hurdles. “Music will always be my first passion,” she says, emphatically. Alongside Atomic Kitten, Natasha gets to work on her own style of music on the side. “I’ve put a band together and do my own gigs, which is great. There’s more to the live aspect. I have a band, between a four to seven piece with brass, singing songs that I love.” She hints that may lead to something in the future; “We’ve been experimenting in the studio, maybe I’ll have a little album. Maybe covers I’ve reworked and made my own. That’s something I’d love to do - I never had the opportunity to have a solo album and in the back of my mind, I’d like to fulfil that at some point in my life. The reality is that I’m a mum, and that comes first and foremost, so we’ll see.”
FIRESTARTER / 19
CONCEPT ALBUMS ARE LEGENDARY WHAT THE HELL HAPPENED TO THEM?
The concept album is a groundbreaking aspect of 20th century music. Albums like Pink Floyd’s The Dark Side Of The Moon, Sgt. Pepper’s Lonely Hearts Club Band from The Beatles and Pet Sounds by The Beach Boys changed popular music forever, through innovation, determination and a sheer disregard for the norm. Connor Winyard asks ‘What’s changed?’ I have a chip on my shoulder about the state of contemporary alternative, I reckon the lack of decent, conceptual works is the missing link. It’s well-known that concept albums tend to be more acclaimed than their less imaginative counterparts. All of the Top 10 albums of all time (as voted by users on Rate Your Music) are concept albums; so it seems to me that bands looking to make it in the saturated market of today need to pull their finger out and start thinking. The golden era of progressive rock ended in the late 70s, and the haziness of 60s psychedelica is long deceased (although not before a smiling revival in the late 80s) but not all concept albums are long and drawn-out odysseys. Take Green Day’s American Idiot, or perhaps My Chemical Romance’s The Black Parade. I can’t stand the latter, but even I can see how Gerard Way et al shaped the minds of millions of impressionable young teens and brought in a new era of post-emo melancholy. Sure, The Black Parade doesn’t possess the same weight as those classic concept records, but at least the concept that My Chemical Romance orchestrated was focussed and adored by many. Alternative music now seems to be riddled with mindless EPs and single after single, barely scratching the surface of what makes a band great.
along with existence in an age where people have ever-dwindling, or miniscule, attention spans. I’m sure social media can take a chunk of the blame for that. There is, of course, the age-old predicament of what exactly makes a concept album, but it’s not too difficult to distinguish a collection of tracks from a story intertwined in music; I’m not missing anything. Yes, Foals’ Holy Fire is probably a concept album and so is Tame Impala’s Currents. They’re both great. So what’s the holdup? The charts have been looking bleak since 1998 - it’s no wonder Top of the Pops threw in the towel 13 gruelling years ago - so there’s no point aiming to create shining, smirking hits. Alternative acts should be looking to hone their craft, tighten production and release something truly worthy of being immortalised in the National Recording Registry by the Library of Congress. That isn’t just reserved for Martin Luther King’s ‘I Have A Dream’ speech, or for Orson Welles’ War Of the Worlds, or even for Chuck Berry’s ‘Roll Over Beethoven’. Sonic Youth managed it by 2005 with Daydream Nation - their essential, alienated magnum opus from 1988. So why can’t the artists of today achieve equivalent artistic brilliance that stands the test of time? Not every band is supposed to make a concept album. I can’t imagine how terrible one would sound at the hands of ABBA. They still made records loved by millions. It’s just that there appears to be a huge decline in masterful concepts since the beginning of the millennium and I wonder why. Is it the rise of the millennial whoop, helping shape repetitive pop? Is it social media and the lack of attention spans? Maybe there just needs to be another band like Nirvana, pushing the boundaries of what the future of music should sound like.
Hats off to The 1975 for releasing the most bloated, overhyped ‘concept’ album of the past ten years last November; but what about the other players? Admittedly, the abundance of material seems to be a staple of ‘punk’ acts trying to stand out and make it big. The Clash’s London Calling is a concept album (and a fucking good one at that) - rough around the edges, reggae-infused mayhem at its best. I’m not expecting every rock band from Brixton to LA to release an eight-track, hour-long concept record on their debut, but there doesn’t seem to Perhaps it all boils down to that. The need for a be many centred ideas right now. It probably goes swift, sharp kick up the arse for all.
TURN YOUR PASSION INTO YOUR CAREER A MUSIC JOURNALISM DEGREE FROM BIMM EQUIPS YOU WITH THE SKILLS YOU NEED FOR A SUCCESSFUL CAREER DEVELOP SKILLS IN BROADCAST, PRINT, & DIGITAL MEDIA BUILD UNRIVALLED INDUSTRY CONNECTIONS
EUROPE’S MOST CONNECTED MUSIC COLLEGE
BIMM.CO.UK/LONDON