The Harmless Musician Type

Owen Duff - intoxicated by London

2010-10-16T15:46:00.002+01:00

With influences stemming from Rufus Wainwright & Sufjan Stevens and with a vibe reminiscent of Anthony & the Johnsons Owen Duffs new EP, Under, documents his arrival in London and his enamoured view of the city. Owen has linked his music to interesting concept videos for each of the songs, including one using Google Earth to map out the song's narrative.

I recently got the chance to ask Owen some question and talk about what inspired the new EP:

What inspired the project?
For me songwriting or making anything is often a process of sublimation, whereby whatever I'm writing or creating helps to resolve or at least express thoughts and feelings that I may not be consciously aware of. The songs on the Under EP are a good example of that, I wrote them a long time ago in 2003-4 when I'd just arrived in London.

It seems London was your primary muse for the EP, is that right?
I had all these romantic notions of what it would be like to live here so moved down in a very cavalier way, without knowing anyone or having a steady job to go to. The reality of it hit me pretty quickly and overwhelmingly, and while I was determined to stay it took me quite a while to find my feet. The song London You're My High is very ambivalent; on the one hand it's sort of a love song to the city but on the other it uses the dark imagery of addiction, which I think expresses how I felt at the time - intoxicated by London but also finding it pretty bleak.
The reason I kept the songs on hold for so long was that I wasn't able to record on a real piano at the time I wrote them. It was only more recently, when I paid to go into a studio and record a whole heap of things on a real piano, that I was able to get versions of the songs that I was happy to release.

Owen Duff - Morning Finsbury Park

There was actually a 'twin' EP to Under called 'Over', which was much bigger sounding, and more upbeat, with drums and trumpets and stuff, and then a whole instrumental section where a Steve Reich-esque arrangement of 'London You're My High' plays backwards over an electronic beat. It was quiteinteresting as an experiment but overall it didn't really work.

Why did you decide to link the songs with videos?
The video aspect is something I've been meaning to get into for a while - I studied TV and Radio Production at university so it's something I've done before and have a long-standing interest in.

How did you come up with the idea of linking the song with google earth?
Because I'd written 'London You're My High' in my first year of living here I wanted to do something that summed up what had happened to me since then. I started drawing up a sort of bullet-point list of the big events in my London life from the past six or seven years, and then I got to thinking about the places those things had happened, which led me to plot out their locations on a map, which is when I had the idea to use Google Earth. I started off with quite specific descriptions but then made them more vague, partly for aesthetic reasons but mostly to make them universal enough that others would be able to identify with them.

Owen Duff - London You're My High

What came first the idea for the project or the songs?
Well the gap between the songs and the videos was obviously pretty long, but the ambition to make an EP or album about this city arose at the same time as writing the songs, so those two aspects were of it were simultaneous. A big influence was New York Tendaberry by Laura Nyro, which I played constantly when I first moved to London. That album is still one of my absolute favourite things to listen to, and I think its central concept of a romantic paean to a big city very much resonated with me in the early days of being here.

You can find out more about Owen on his site owenduff.co.uk and you can download the Under EP from his bandcamp page for free.

Review: Colorado Thrift EP by Smokey Mountain English

2010-08-25T17:00:00.002+01:00

Kacey Wade Stewart, Will Davis and Pat Loundas in just 5 hours have managed to capture a irresistible lo-fi charm with this brilliantly understated EP. The first thing that draws you in is the warm guitar tone punctuated by the cyclic banjo picking which are prominent through out the EP. The opening 'Hard To Tell's' uptempo flow is hard to resist, and opens the way for the Guthrieesque 'Train Song' with it's homesick imagery.

Washboard percussion and Will Davis' banjo add to the uplifting 'Grow Old' beautifully, the 4 track EP is rounded out by another undeniably catchy love song 'Pearlsnap button'.

The whole EP captures the good vibe of friends making music together and boasts a charming blend of Folk, Americana and a touch of Bluegrass. Well worth a listen, and the why not when it's free to download? It's already on my iPod!

<a href="http://smokymountainenglish.bandcamp.com/album/the-colorado-thrift-ep">Hard To Tell by Smoky Mountain English</a>

Click Here To Download The EP For Free.

I Am Gone

2010-08-14T14:47:00.001+01:00

I AM GONE

I've spent the last 6 months writing and recording and re-recording my second EP, the follow up to 'The Sea'. The title comes from a line in the second song on the EP called Moving On. Over 20 minutes 'I Am Gone' blends quiet folk with more raucous folk-rock, so here's the track listing:

Key To The Lock
Moving On
Vices
Summer Sanctuary
Soldier

It will be available from Monday as a Digital Download for £2.50 and there will also be a limited run of CDs which will cost £3.50, these will include extras like links to early demo versions of some of the songs and some that didn't make it onto the EP.

So I made a little bit of a mess while I was recording.

I hope you'll enjoy listening to it as much as I did writing and recording it. You can listen to the opening track Key To The Lock and Summer Sanctuary on myspace now.

Review: Jukebox Gypsy

2010-07-21T13:28:00.000+01:00

Jukebox Gypsy have achieved the perfect blend of traditional Celtic & English folk, Americana and Folk Revival with there eponymous debut. The album opens with the raucous ballad Whatever Happened To Elijah Cale setting the feel for the rest of the album. The vocal harmonies and interplay between Ben Blance, Dave Hastie, Johanna Hillebrand and Isaac Tabor throughout the album are a brilliantly arranged with call and response sections fitting perfectly. The album steps back from it’s up tempo opener with the more relaxed banjo led February and featuring Lucy Macdonald’s exquisite violin line and a catchy chorus.

The uplifting Celtic climax of Union Hymn is quickly contrasted by the Americana feel of Papa Joe’s slide guitar groove. The delicate opening violin line of Water slows the albums pace as the song introduces finely balanced male/female vocal harmony and guitar harmonics.

The album’s passage from genre to genre adds to the aesthetic of the record springing a few surprises on listeners. Automatic immediately reminded me of Stephen Still’s early solo records with its blues acoustic guitar line and as the texture builds towards the end of the song it unleashes a brilliant solo. A couple of tracks later the record slips into Hey Mama: a catchy, easy going Ry Cooder-esque protest song with a gypsy jazz solo, reminiscent of something from a ‘30s D’jango Reinhardt record which was a nice little surprise.

The climax of the album comes from Over The Mountain, a song CSN&Y would be proud of. This song really grooves and the electric guitar has a heavy blues rock flavour.
The album then ambles to a close with 2 more quiet tracks: the delightful Celtic flavoured Innismor & delicate folk song The Rain Invitation which showcases Johanna Hillebrand’s solo vocals.

I think if the album had closed with the barnstorming Over the Mountain and the last two more sedate tracks had come earlier in the running order the album would feel more solidly concluded rather than have these later tracks feel slightly like after thoughts. The fluidity of the album’s genre hopping makes it a thoroughly enjoyable listen.

Check out Jukebox Gypsy's mysapce here.

Noah and The Whale: Manchester Cathedral, 3rd July

2010-07-20T22:45:00.004+01:00

When Noah and The Whale announced they'd be playing just 2 UK dates this summer I was ecstatic to find one of them was at Manchester Cathedral. I'm a long time fan, right from Peaceful The World Lays Me Down, and First Days of Spring merely left me more enamoured with them.

Nice view of the sound man too

Noah & The Whale took to Manchester Cathedral's makeshift stage surrounded by ramparts made from pews and flight cases. Bursting into their set with a run of songs from their last album First Days of Spring including Blue Skies, Slow Glass & Love of An Orchestra. The songs sombre yet uplifting feel matched the environment of Manchester's Cathedral perfectly and as the set gathered momentum the crowd shuffled and packed together in an attempt to get a better view and as close to the stage as they could. There's a reason purpose built theatres don't have great stone pillars, because you can't see through them. Some gave up and were happy enough to get a fleeting glimpse between heads now and then and just enjoy the vibe that NATW were creating. Others, like me, shifted around the edge of the crowd for a better view, in the end I got a decent view from the right of the stage.

A powerful version of Give A Little Love (my favourite NATW song) and a set mixing the deeply personal newer songs with the catchy less serious earlier songs made for a great dynamic.

The gig was great and the Cathedral was packed, probably more people than it sees on a Sunday that's for sure, maybe they should offer great live music and a bar for services?

They rounded out their set with a powerful encore of my favourite from the latest album My Door Is Always Open and 5 Years Time from their debut and ended the night with a new song L.I.F.E.G.O.E.S.O.N maybe Charlie's broken heart is mending?

Setlist:

Blue Skies
Give A Little Love
Slow Glass
Love of An Orchestra
Our Window
I Have Nothing

My Broken Heart
Jocasta
Mary
Stranger
Two Atoms
Shape of My Heart
Rocks And Daggers
The First Days of Spring

My Door Is Always Open
5 Years Time
L.I.F.E.G.O.E.S.O.N

2010-07-20T15:06:00.000+01:00

Since it was first awarded in 1992 the Mercury Prize has become one of the UK's best know music prizes with it's high profile awards show being covered by the BBC. Set up as an alternative to the Music Industry dominated Brit Awards the Mercury shortlist is eagerly anticipated because of it's genre spanning nominations.
The prize itself? How does £20,000 sound? That and the honour of being nominated of course. Last years winner was Speech Debelle, which surprised a lot of pundits. This year's shortlist was published today and includes some interesting choices.

The first thing that sprang out from that list was that unlike previous years there are 3 folk acts nominated. Rather than the "Token Folkie" which in recent years has been Lisa Hannigan, Fionn Regan & Laura Marling. This year Villagers, Mumford & Sons and Laura Marling in her second nomination.
Other notable nominations are the supposedly 'underground' xx which didn't surprise me at all, their album is one of my favourites. And a 1994 nominee Paul Weller for his 10th album.

This years shortlist is as interesting as ever with a range of genre's being spanned from Hard Rock to Jazz & Folk to Pop and the winner will be announced on the 7th September.

Interview: Matthew & The Atlas

2010-07-18T18:49:00.000+01:00

So after hearing Matthew & The Atlas' exquisite debut EP To The North a few months ago I decided I needed to interview the bands eponymous 'Matthew': Matthew Hegarty and find out what the story was behind the EP and how he writes his songs.

So in the beginning, what made you want to write songs?

I taught myself to play guitar when I was 15 or 16 years old. I was pretty much writing from the start, whether it was a guitar riff, or couple of chords strung together with a melody. I think I got a better feeling from that than learning other peoples songs. I've felt a need to keep writing better songs since then, like the last one was alright, but I know I can write a better one. I get a buzz when I think I've got something good, sometimes it slips away, and sometime you keep hold of it. It can be quite elusive at times, I think that makes me want to keep writing all the time.

Who influenced you as you began writing? (Do these people still influence you?)

I was really into Nick Drake, John Martyn, Jeff Buckley and Bob Dylan when I started writing. I'm definitely influenced by them still, its not as immediate as I don't put there records on as much as I used to, but I hear it coming out in new songs still, whether I want it to or not sometimes.

When did you all come together as a band?

The band came together piece by piece. Lindsay and Dave where the first to join, we met when they were both running a music night in Woking, and she booked me to play. We did some gigs together, each doing our own sets, playing our own songs, sometimes just with Lindsay and sometime Love.Stop.Repeat, which is Dave and Linds. Eventually we started working on my songs, seeing how they sounded, while we were doing this, Communion offered to make a record with me, so I put some songs together and us three went into the studio. During this time I'd been booked to play at Notting Hill Arts Club for Communion, it's there I met Harry our banjo player. He seemed into it, so I asked him if he wanted to come along and put some banjo parts on the EP, he very kindly did, and his playing just blew us all away. He's been in the band ever since. Our drummer Tommy is an old friend of mine, I used to play in another band with him. He's more into rock music, so I initially didn't think of him when we were looking for a drummer. We had a couple of practices after we'd done the EP in the winter, and he got it straight away. About a month later, it was our first gig, which was March.

What inspires you when you write?

There are lots of things that give me inspiration, sometimes its might be something that's happened to me ,or something a friend is experiencing. Films and book give me ideas, and can put me in different moods to write. I think I revisit certain themes occasionally, looking back to the past more.

What’s you’re instrument of choice?

The guitar, but I pick the banjo up quite a bit to write on.

You changed your name to Matthew And The Atlas last year, where did the “and the atlas” come from?

I didn't want to perform under my full name any more, I liked the idea of having a moniker and the detachment you can have from it, though not fully as my first name is Matthew. The Atlas was the first name I came up with after trying a hundred others. I like the vastness the word Atlas gives, I really like to travel as well and I like the feeling and imagery it gives. Someone said I should of have named us Matthew And The Sat Nav if I liked to travel so much. Doesn't have the same ring though.

The harmony between you and Lindsay West is beautifully balanced, how did you discover your voices gelled so well?

The first time I saw Linds play was when she booked me for her night in Woking and she asked to borrow my guitar so she could play a couple of songs first. I just loved her songs and her voice, and there weren't a lot of people playing folk music round were we lived, so she really stood apart. It made sense to me that our voices would fit together well, having a voice so pure sounding as hers, is only going to make mine sound more world weary and beaten up, I really liked that idea.

Our approach to song writing is changing all the time. Before we were a band, It was just me writing, and I still approach it in a similar way. I mess around on the guitar trying to find a melody I'm in to, then I work on lyrics, then demo the song on a 12 track. I can layer vocals, put banjo and percussion down, try to get a general feel of how I want it to sound. I send these to the band and they bring there input to rehearsal. It's not always like this as were still gelling as a band and working this stuff out, but this seems a good way for the moment.

Your EP ‘To The North’ is available now, what can listeners expect from the it?

Some banjo, hand claps, gravely vocals and girly vocals and hopefully some enjoyment.

Why did you choose to call the EP ‘To The North’?

To The North was actually the 5th song on the EP we decided to drop. I liked the name, so we kept it as the title. I like the way it works with the atlas, and the movment it gives.

What music are you into at the moment?

I just bought Villagers new album, which I'm really into and Micah. P. Hinson latest LP, which is a slight departure from his last three albums, It feels more experimental, it's good. The National's new album is great as well.

How would you describe your music, genre wise? Some artists/bands seem reluctant to describe themselves as ‘folk’ for various reasons.

I don't' mind the folk tag, it's not particularly traditional, though it does owe debts to it. Hopefully its a mix of this, contemporary folk and Americana, and whatever you may think it sounds like.

What's coming up in the summer? Gigs? I see you’re playing Green Man Festival, Will there be an album anytime soon?

We have quite a busy summer writing for our next EP, and we'll be heading into the studio in September. We'll also be shooting a music video in a few weeks which should be ready for mid August. The were off on tour with Mumford and Sons in the autumn, which were really excited about!

Johnny Flynn & The Sussex Wit: Manchester Academy 3, 29th June

2010-07-01T23:17:00.000+01:00

I first saw Johnny Flynn & The Sussex Wit in Liverpool on their club tour just before ‘Been Listening’ was released. They played a tiny club, Zanzibar, I was stool on a chair about 15 feet from the band. I’d been enraptured with ‘A Larum’ for almost a year at this point and as soon as I heard he’d be playing, I immediately got tickets. The Liverpool gig was great. So when I heard they’d be touring in support of the new album I looked up the dates and to my disappointment the Manchester date was just a day before my first year uni exams. So I gave up hope of seeing them again in favour of exams.

But I’ve been lucky, Johnny had to put off several gigs early in the tour due to a bout of flu. The Manchester Academy gig was rescheduled to late June so I grabbed a late ticket. It was worth it.

Fresh from the Glastonbury BBC Introducing stage Dry the River returned as support, albeit in depleted numbers with only 3 of the 5 members making it, to play an impressive Fleet Fox-esque set.

By the time Flynn & The Wit take to the stage the place is packed as they open their set with a raucous rendition of Cold Bread. The set mixes the old and new from both albums, playing live levels the playing field, removing the production differences between albums. The stripped feel of a live performance overrides all and Flynn is left to showcase his raw talent and the craftsmanship of his songs. Giving searing performances of; Kentucky Pill, Howl, The Box and Tickled Pink alike. Mid set he gave a tongue in cheek apology for having to reschedule the gig saying: ‘it’s wouldn’t have been good.’ The crowd forgave him.

Switching to Banjo Flynn closed the set with Eyeless in Holloway leaving the audience baying for more. An intimate version of The Water was met with hushed reverence as Johnny and James Mathé (keys) made a brave attempt at recreating the exquisite album version (featuring Laura Marling). The show rounded out with a boisterous sing along of Leftovers.

The fresh songs from ‘Been Listening’ sat effortlessly by the older better known songs from ‘A Larum’ and Johnny Flynn didn’t disappoint his audience even if he’d made them wait a few more weeks to see him.

Set list:

- Cold Bread
- Kentucky pill
- Lost and Found
- Brown Trout Blues
- Barnacled Warship
- The Box
- Churlish may
- Wrote and The Writ
- Howl
- Tickled Pink
- Been Listening
- Eyeless in Holloway

Encore:
- The Water
- Leftovers

An Interview with Dead Cities

2010-06-18T13:52:00.004+01:00

Continuing the string of interviews I've posted with local musicians and bands about how they go about writing their songs I recently got the chance to interview Ryan Wyatt, bass player with the multi instrumentalist Liverpool Folk-Rock band Dead Cities.

So in the beginning, what made you want to write songs?

Nothing really, Martin had a few tunes and hadn’t played for a while so me and Oli started playing on top of them and they sounded pretty good so we carried on for 3 months or thereabouts before we realised we were a band.

Who influenced you as you began writing?

Probably Martin without sounding cheesy, just because he had these songs lying about and me and Oli just threw anything over them we thought we could add. After a while when we started doing songs from scratch with each other, I think it was obvious that people like Neil Young has an influence on us as a band and Led Zeppelin for me are always going to influence ideas I come up with. The Beatles too and anything more contemporary we listen to as a whole together – Wild Beasts, Grizzly Bear, Fleet Foxes – there’s a lot of stuff in there.

So how did you all come together as a band?

I already knew both Oli and Martin, and they had played together in The Alterkicks. I had been playing in a few different bands around the same time, as well as my flat being in the same building as Oli’s, so it just kind of happened by accident really. Me and Oli had played in a few bands together already before Dead Cities, and as we lived in the same building as each other, and with Oli’s bedroom becoming a kind of local rehearsal room for bands we played in it, seemed the obvious choice for Martin to use me and Oli as the rhythm section.

Where did the name “Dead Cities” come from?

Martin had come up with a joke name which we would refer to ourselves as but when we realised we were turning into a band we just chose the name “Dead Cities” from a song title we had. We managed to cut out all of the stresses involved in naming a band which is usually the biggest pain in the arse when starting a new project.

What would you say inspires you when you all write?

Wouldn’t be able to say to be honest as it can come from a film, book, concert you have been to, a noise you hear. For me I don’t really write as much as I usually help arrange or come up with melodies on top of existing chord structures so it is usually just something you think will add to a song for me.

You all play various instruments (live) but what’s you’re individual instrument of choice?

It would definitely be the bass as that is what I have played for 10 years in different bands and when people ask me to play with them it is usually to play bass. It’s the one instrument I feel completely comfortable on and never feel out of my depth on it. Since staring Dead Cities I have taken a real shine to the ukulele and find myself playing it everyday

Old Man (Live)

When you come to write a song do you find you always approach it in a similar way? Or do you have a formula as a band? (Do you write the songs as a band or do you write the lyrics and then approach the music as a band?)

It can work in different ways really. Most of the time Martin will come in with a chord sequence and a melody and me and Oli will add what we think suits the song. It can result in me changing around different instruments to see what fits and Oli doing the same, then if we feel a song needs a change in direction or needs added sections one of us will usually come up with the idea of where to take it and it usually works without anyone thinking differently. Sometimes we will literarily just write a song on the spot or in the studio and just take it there and then.

You grew from an acoustic band but have been branching out introducing other instruments, where do you see your musical direction going next?

Don’t have a clue and I would think that none of us do. We work on songs together and if they sound right they are in and if they don’t they will be put aside and we will work on something different. We might have 3 that we are working on all with different instrumentation that will sound like us but don’t sound alike so I think the sound always changes but can so easily come back to what it was we were doing at the start. It’s all about how the song we are working on at the time feels. If it needs to be big it will end up big but if it needs to be soft it will be soft so I don’t think we ever have an idea of what the next track we work on will sound like.

What music are you all into at the moment?

I am into blues and have been for years and that is mostly what I listen to but I find I end up listening to a lot of music I hear friends playing or even listening to friends’ bands that I really look up to. At this very moment though it is The Movie Soundtrack to The Last Waltz by The Band which I just managed to get hold of at a record fair so that will probably be on my record player for the next month.

How would you describe your music, genre wise?

I wouldn’t know how to describe it really. If you say Folk people will expect Folk if you say Indie people will expect Indie and if you say Pop people will expect Pop I just say it’s a bunch of songs where we pass instruments about and try and create different sounding songs with just the three of us.

What's coming up in the summer? Recording? Gigs?

I would imagine we will be going out and gigging over the summer as well as writing and looking at getting together more recordings for an album we hope to release this year. Unfortunately with being unsigned and some members working jobs and some unemployed the summer isn’t much different then other times of the year so you find you still push on and work as hard as any other time of the year. We have gigs starting to come in with Liverpool Sound City and one or two festivals so we will see what comes in and where they take us but in the mean time I suppose we will still just be writing, recording and drinking all of Oli’s tea and eating all of his digestive’s he tries to hide from us.

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You can find out more about Dead Cities and check out some of their music at: myspace.com/deadcitiesband

Stornoway, A Band On The Run - From Genre

2010-06-10T23:49:00.001+01:00

Fuel Up (on Later With Jools Holland)

Stornoway are a band running from genre. Genre has it's gifts and it's hindrances. It can help people understand your music, it can help people who like similar bands discover you, it can help critics classify you. OK well that last one may not be a plus side but lets face it people like to classify stuff. Be it types of South American tree, umbrella or in our case new bands.

Stornoway have recently thoroughly disowned the folk labels that were thrust upon them from everyone from the BBC to the NME. But why have they been pigeon holed into the wave of new folk artists? Well because their debut album Beachcomber's Windowsill is undeniably folky, that's why. I mean come on even the album name is folk to the hilt! The production on the album is reminiscent of the Fleet Foxes and the parallels between contemporaries like Noah & The Whale, Sons of Noel and Adrian and Mumford & Son are their in the instrumentation; featuring songs with banjo riffs a-plenty in We Are The Battery Human, fiddles in The Coldharbour Road and delicate acoustic guitars in The End of the Movie. Stylistically they range between folk and the more raucous tracks like Watching Birds.

I Saw You Blink (Official Video)

So this begs the question, what is folk music? Well what does it bring to mind for you? For some when they hear the word folk they think traditional English folk music (which personally leads me to think of Morris Dancers and Maypoles), others think 60s folk revival. Well the dictionary definition is as follows:

Folk

• plural noun 1 (also folks) informal people in general. 2 (one’s folks) one’s family, especially one’s parents. 3 (also folk music) traditional music of unknown authorship, transmitted orally. 4 before another noun originating from the beliefs, culture, and customs of ordinary people: folk wisdom.
— ORIGIN Old English.

So then does modern folk music fit this definition? Can we call Laura Marling and Mumford & Sons etc Folk? Well no because we know who wrote their songs, they did. Is their music traditional? Well what's traditional? (Lets not go there right now we have enough on our hands with 'Folk'!) Are they transmitted orally? No. We listen to their records. So is anyone folk? Arguably not by definition, no.

Zorbing (on Later With Jools Holland)

But who cares? Stornoway like Marling and the Mumfords are all influenced by folk music, among many other genres. So we should let Stornoway off with not wanting to be stereotyped as one of these new folk bands. And their record has something none of the other bands have on theirs. A Kazoo (on Watching Birds).

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Go listen to the album The Beachcomber's Windowsill now, available on spotify here. They're also part of my nu-folk spotify playlist, along with a load of other great bands, which can be found here.

Interview with Shane Beales

2010-05-12T20:12:00.003+01:00

Liverpool based Singer-Song writer Shane Beales has just released his 4th EP Heavy Clouds describing it as "honest melodic music". He released the EP for free, and recently played a set for BBC Radio Merseyside. In 2006 he began Project52 which saw him write, record and release a song a week for a year and Muzikreviews.com described him as ‘Quite the up and coming artist’. In this interview I asked him about how he went about writing the EP and what spared him on.

So in the beginning, what made you want to write songs?

I grew up in a musical family and everyone was writing their own songs so as youngest child, it just seemed the thing you did when you were old enough!

Who influenced you as you began writing?

I used to live in Melbourne and there is a folk pop band called “My friend the chocolate cake” and their lead singer David Bridie was a huge influence when I first started. Simple piano songs – beautiful! Also Radiohead, Ben Folds and Dave Matthews band plus of course, Jeff Buckley.

What do you say your muse is, what inspires you when you write?

I am inspired singing about hope, change and being confrontational! (hope I don’t sound too much like a politician.)

What’s you’re instrument of choice parts of ‘Heavy Clouds’ seem piano led, while other tracks are definitely guitar led?

Both I guess – quiet and loud! Most of my songs lend themselves to either one or the other, though I used to happily play piano for hours on end without getting blisters, which is more than I can say for the guitar.

When you come to write a song do you find you always approach it in a similar way? Do you have a formula?

My only formula is to trust my instincts, I tend to write quite quickly and later rue all of my mistakes!

Do you find your approach to writing a song like ‘Across the Sea’ differs from writing a song like Crunch?

Yes - the lyrics for across the seas were very much tied in with the music from the beginning – whereas I had the idea for The Crunch initially just instrumentally and had to find some lyrics just in the nick of time before it was time to record the vocals.

You released ‘Heavy Clouds’ as a free download, why did you do this? Do you think artists should have to give away there music for free?

I released it as free download for promotional purposes to reach new listeners and also to question what monetary value music deserves. Why is 79p a track is the right price for a download or £10 for a CD?

Do you think it’s a necessity with how today’s music industry works? I don’t believe it’s absolutely necessary to give music away for free, it should be a decision made on the merits of each project. I would hope people don’t feel that they are forced to give music away.

Your new album ‘Heavy Clouds’ is available now, what can listeners expect from the EP?

Heavy, sometimes musically, sometimes lyrically, confrontational and ultimately uplifting. With a variety of sounds and entry points…

How would you describe your music, genre wise? Your latest release, Heavy Clouds, seems quite rocky.

Alternative singer-songwriter I guess, It’s honest melodic music from the heart. Sometimes aggressive, sometimes gentle, always sincere.

What's coming up for you, any gigs or recording?

In August I’m moving to London, promoting Heavy Clouds EP and preparing for an album is next. Also playing with my wonderful band!

You can download Heavy Clouds for free at Heavy Clouds.com, You can also find out more about Shane on his Myspace and Site. Heavy Clouds is also being sold as a Remastered Limited Edition on CD with super artwork for £9)

Hustle & Cuss by The Dead Weather

2010-04-30T17:44:00.000+01:00

Hustle & Cuss live at Coachella 2010

Hustle & Cuss is the first release from The Dead Weather’s Sea of Cowards follow up to last year’s Horehound, which debuted less than 10 months ago. You can download the track for free here on DW’s site. Instantly recogniseable as The Dead Weather, Hustle & Cuss is more funky than anything on Horehound, when I first heard it I was immediately reminded of the Black Keys whose songs have a similar dirty groove to them. Sea Of Cowards is due for release on the 11/10th May.

For Fans of: Black Keys, White Stripes, The Kills.

'Kentucky Pill' by Johnny Flynn.

2010-04-14T16:20:00.001+01:00

'Kentucky Pill' is the lead single from Flynn's new album 'Been Listening'. This catchy mandolin driven track with its uplifting trumpet riffs make a perfect sonic background for Flynn to sing his vivid and imaginitive lyrics over. From the first roll of the drums and boom of the bass the song hearlds something new, the mandolin reminds me of west african music, this shows Flynn is making music with influence far beyond its country/folk roots. I can't wait for the album in June.

Also part of my 'Nu-Folk' spotify playlist - here.

Seth Lakeman at the Liverpool Urban Centre, 7/4/10

2010-04-11T20:47:00.003+01:00

When I was asked if I’d like to review Seth Lakeman’s gig at the Liverpool Contemporary Arts Centre I jumped at the chance, having heard of the Mercury Prize nominated Folk Singer, but never getting the chance to listen his music I was interested to finally hear him. I hadn’t heard his music before so I checked out his albums before the show, I’d like to be able to say I was impressed. Even more so I’d like to be able to say my opinion was changed by his performance. But I can’t. When listening to his albums it struck me that something was missing. I couldn’t put my finger on it. But having stood just 5 feet from him during his set I realised what it was that was missing. While he played a confident set with varied material I felt throughout the set that there was a spark missing that let the songs down.

Guy infront of me at the gig in a stupid hat.

The evening began with support acts that were comfortably similar to the headliners style with The Kevin Critchley Outfit playing in a similar vein to Lakeman’s own brand of slightly rocky English folk. They opened with an energetic set, with songs from their debut album Scars. With a depleted band, just guitar, violin & cello instead of their normal 5 piece the KCO performed a confident set, engaging and joking with the crowd between songs. They were followed by Dan Donnelly who played a solo set accompanied only by his loop pedal, which he used to create his own backing using the body of his guitar for percussion and layering several guitar parts up to create songs like ‘Cigarette’ and ‘Diamonds in the Road’.

I went for a sit down at the back half way through

Lakeman’s set began with a track, ‘The Hurlers’, from his current album Poor Man's Heaven. He then announced that he was releasing his next album Hearts and Minds on June 14th before playing the title track. He played several more new tracks during the rest of the evening. Throughout his set Lakeman switched between violin and guitar and while I felt he lacked a certain spark of conviction in his voice his fiddle playing made up for this. He was ably supported by his band and while his particular brand of contemporary English folk may not be my cup of tea, I can easily appreciate its appeal to so many of his fans. His songs are well crafted and he and his band played a dynamic set, changing the tempo of the evening several times, slowing the mood right down only to bring things to a peak announcing ‘I hope you don’t mind another hoedown’ and ending the set with ‘Poor Man’s Heaven’ before returning for an encore with an up tempo ‘Race To Be King’.
While Seth Lakeman might not be to my taste he was certainly interesting to watch live and he kept his audience’s captivated throughout.

_______________________

This review was written for liverpoolacoustic.co.uk

Watchman - Peggy Sue

2010-04-07T14:39:00.002+01:00

Peggy Sue - Watchman from Brittney Bean on Vimeo.

My Band of the month, easily. I heard about Peggy Sue about six months ago, I'd seen a few videos on Youtube and I knew there was an album in the works. But I didn't pay them too much attention at the time. But by accident they have become one of my favourite bands. I was watching the Local Natives in Manchester last month and to my surprise Peggy Sue were the support act. They have an energy on stage that's captured on their new album admirably. Watchman is one of these tracks, the interplay between frontwomen Rosa Rex & Katy Klaw is attention grabbing. The main refrain "I only came here to see you see me" is infectious. The album as a whole reaches similar peaks with songs like Yo Mama & Matilda. While Peggy Sue are part of the Nu-Folk vanguard they offer up something unique. They have a raw edge, almost punky, sound which sets them apart from the others. The album Fossils & Other Phantoms is availble now and is also on Spotify here. Good Summer listening.

Also part of my 'Nu-Folk' spotify playlist - here.

Laura Marling's Next Single Rambling Man

2010-03-31T23:35:00.001+01:00

Laura Marling - Rambling Man Official Video

Laura Marling | MySpace Music Videos

Rambling Man is the next single from Laura Marling’s second album, I Speak Because I Can. The album itself has received rave reviews being hailed as a step forward from her Mercury Prize nominated debut. Marling’s songwriting has always been praised for its maturity but this album has been much panned as an album about ‘womanhood’. Rambling Man’s refrain mirrors this: “oh give me to a rambling man, let it always be known that I was who I am” Marling’s phrasing at times reminds me of Joni Mitchell, no bad thing, and that subtly continues through out the album. I highly recommend the album it’s well worth a listen especially if you’re into the Folk Revival, which Marling was key in bringing about, that’s come about recently!

You can find the album on Spotify here.

For Fans of: Mumford & Sons, Noah & The Whale & Alessi’s Ark

You can also find a spotify playlist filled with new folk artists like some mentioned in this post here.

Scratch My Back - Peter Gabriel

2010-03-21T22:56:00.000Z

I had heard a couple of tracks from Peter Gabriel's new album Scratch My Back, I'd heard Book of Love a month or so ago. But when I heard his version of Flume by Bon Iver - it blew my mind. Its rare songs do this, in the realm of covers the last one that did this to me was Buckley's Cohen cover, Hallelujah.
The arrangement is perfect. I had always liked the original but I was struck by this cover's raw emotion. Have a listen.

The delicate piano, with the surging horn section are unbelievable, with Gabriel's raw vocals. I've listened to it dozens of times. It's a brilliant version.

Free Music

2010-03-06T19:17:00.001Z

Just thought I'd post a free link to some of my music. You can find 9 free tracks here.

Enjoy

Review: Rachael Dunn's Alpha Ghost

2010-03-05T21:39:00.002Z

Rachael Dunn’s Alpha Ghost delivers an engaging brand of soulful acoustic pop, with Dunn’s vocals beautifully conveying her image-laden lyrics overlaid on Alex Dunford’s skillfully crafted soundscapes.

The album opens with the soulful ‘Out in The Storm’, the bass line drives the song forward and flourishes of glockenspiel and lead guitar bring the track to life. This is contrasted by the albums eponymous track ‘Alpha Ghost’ with its simple acoustic feel and Rachael’s delicate vocals. The Mood changes with the darker ‘Closed Door’ its powerful lyrics and double tracked vocals reminding me of Alela Diane. ‘Falling Fast’ feels intimate with the piano adding greatly to the feel of the track. The expansive ‘Hold The Light’ continues the darker feel with crunching electric guitars and a feel reminiscent of Radiohead.

The second half of the album continues with the piano led ‘Violet’, Dunn resists the urge to overload the track instead opting for a simple, honest arrangement.

An unexpected gem comes in the form of the Stones-like ‘Walking Backwards’ with its catchy chorus, foot tapping percussion and more raucous lead guitar. This is immediately contrasted by the acoustic charm of ‘Hang in Time’ and the album’s most intimate track ‘Hide’. The simple acoustic arrangement closes the album beautifully. However it does make me think that perhaps some of the other songs would have benefited from a similar stripped back sound.

Alpha Ghost is a genre-spanning, varied record with Rachael Dunn’s soaring vocals being ably supported by multi instrumentalist and producer Alex Dunford. While I think some of the tracks could have benefited from a less slick production this does not detract from the engaging album Rachael Dunn has created.

The album is available now on Amazon and iTunes

You can also read my earlier interview with Rachael where she spoke about the making of Alpha Ghost here.

This was my first review written for LiverpoolAcoustic.co.uk

Some Cool up-beat Folk/Acoustic Songs!

2010-03-03T19:46:00.005Z

Langhorne Slim - In the Midnight

Peggy Sue - Yo Mama

Blind Pilot - One Red Thread

Johnny Flynn - Tickle Me Pink

Rosewood Thieves - Murder Ballad in G Minor (The EP version is brilliant.)

Noah And The Whale - Give A Little Love

Emmy The Grat - Dylan

Matt Costa - Sunshine

Mumford & Sons - Little Lion Man

Fionn Regan - Lord Help My Poor Soul

Johnny Flynn - Leftovers

Mumford and Sons - The Cave

Matt Costa - Mr Pitiful

I'll add more when I think of them/find more. If you have any songs you think should be up here let me know!

An Interview with Fly Lazurus Fly

2010-03-02T22:28:00.001Z

North Wales musician, Fly Lazarus Fly is a label mate of mine on Binary Indy which led me to check out his music. Having been impressed by his recent debut EP 'The Rundown' I thought I'd ask him a few questions about how he goes about making his music.

So in the beginning, what made you want to write your own songs?

To be honest, I only really write for myself. If others like it and are interested then great! If not... no worries. I like to play around with sounds and chords and try and make something that I myself would be happy to listen to.

Who influenced you as you began writing?

I'd probably say the 'Britpop' generation of music was my biggest influence (Blur, Oasis, The Verve, Cast) - then gradually I became more aware of other artists through these bands.

Do these people still influence you?

Do these bands still influence me?... hmmm... I would say only if they changed or varied their sound on each different album. Whichever band I listen to, I always hope that there is a different sound and 'feel' to each new release.

What’s you’re instrument of choice?

The guitar. It's the only one I'm averagely ok at. Looking back I wish I'd learnt to play the piano as well.

What do you say your muse is, what inspires you when you write?

Anything and everything. If there's something that I find particularly interesting then I'd try and incorporate it into something. Although at the moment, I would say there is a certain seasonal elements that influence the songs.

How do you approach song writing, do you find it is different each time or do you have a formula?
I generally just play around with different chords or sounds and try and fit words to it. It's a sloooow process though and can mean that sometimes it takes months to get something that fits and 'feels' right.

How would you describe your music, genre wise? A lot of musicians struggle or are reluctant to categorise their music.

I don't really know and don't really mind. If I had the production facilities I would certainly like to add more instruments, but for the moment, acoustic is probably what best describes the current E.P.

You can listen to and download 'The Rundown' on Binary Releases here.

The Folk Revival, Revival.

2010-02-18T17:49:00.001Z

The 1960s saw an unprecedented revival in folk music in the United States, fueled by student culture coming to grips with difficult social issues they felt strongly about. The discovery of music by American folk musicians such as Woody Guthrie & Pete Seeger, who's politically charged songs resinated as much if not more in the 1960s as they had in the 1930s. The 60s saw the Folk become intertwined with the Civil Rights Movement and the Anti Vietnam protests. Tom Paxton, Pete Seeger & Peter, Paul & Mary, Joan Baez & Bob Dylan (pictured left) , and countless others began work on a body of songs that have stood the test of time, discussing the difficult topics of race, social strife and nuclear war.

As the 60s slid into the 70s this revival of the Folk mutated into Folk Rock with bands like The Byrds and Crosby, Stills, Nash & Young (pictured right.) blending Folk melody and vocal harmonies with Rock's electric guitars and drums. By the mid 70s this Folk Rock sound had become a comercialised stereotype of it's self with band's like The Eagles working to the Country/Folk Rock formula. By the end of the 70s the Folk Revival had petered out and returned to the shaddows.

Mirroring the resurgence in Americ, the British Folk scene gained new momentum with the late Davy Graham (pictured left)astounding listeners with his eastern twinged folk arrangements of Traditional & original compositions. He pioneered the use of the DADGAD guitar tuning. Opening a whole new avenue to guitarists in the 60s.
Graham along with groups like Pentangle and other solo artists like Bert Jansch & Nick Drake.

But whereas in America Folk music just sat on the back burner, with hundreds of dedicated Radioshows, Folk slipped from the mainstream in England. However it's back. The London 'Nu-Folk' scene has spawned a whole slew of Bands that have risen to prominence including Noah & The Whale, Laura Marling (below),

Mumford & Sons, Emmy the Great, Alessi's Ark & Johnny Flynn and the Sussex Wit to name afew. Noah & The Whale's 2005 debut album charted at #5 in the UK, While the Mumford & Son's (pictured below) debut charted at #7. But the charts mearly indicate the trend, the music of this Folk Revival - Revial has been critically acclaimed. Laura Marling was recently described as 'a female Bob Dylan' - praise doesn't get much higher than that for a songwriter.

I find it interesting to note the influences of these bands. While London bands like Mumford & Son's draw heavily from American roots music other bands like The Unthanks, from Northumberland, draw from traditional English folk music. I think this resurgence in popularity for this kind of music is great and the diversity of the music being produced is inspiring.

Folk music is dead. Long live folk music.

Follow this link to listen to a spotify playlist specially compiled for this post!

The First Review of 'The Sea'

2010-02-11T20:59:00.001Z

The Sea is Matt Moss’ first foray into the solo acoustic world and damn is it a successful one. The EP is short and sweet and contains upbeat songs like “The Sea” and “Love me More” and the darker stuff like “Half Empty Glass.”

The EP builds nicely in excitement and intensity, a rare thing these days, which is hard thing to do. It does have the benefit though of no songs sounding the same as the one it follows. Lyrically the EP is quite impressive, "The Sea" (the song) perfectly seems to convey the emotions of a troubled long distance love affair. Moss played every single instrument on this production and the fact that they all blend well is quite an achievement.

On the other hand, in some tracks the mix feels a bit full which detracts from the emotions in the songs. The final song on the EP also drags a little but oddly didn’t in my first listen and that was when I wasn’t being critical. A great song to get lost in.
I look forward to the debut album.

By James Butler.
More of James' reviews are well worth a look and can be found on his blog here: www.globalripper.tumblr.com

An Interview with... Me

2010-02-11T11:45:00.000Z

I haven't interviewed myself that would be slightly egocentric! But when my EP was released a couple of days ago the label I'm on asked me some promotional questions here they are in full:

1. When not making music what do you do?

I’m a history student at Liverpool University, UK so that takes up a lot of my time, I also teach people to play the guitar which is pretty satisfying, but not as satisfying as writing music.

2. What was the first album you ever bought?

I’m having to think really hard about this. It might have been an Oasis album? Or it could have been Bob Dylan’s Highway 61 Revisited, I think it was Oasis, Dylan came later.

3. Who are your biggest influences?

I’ve had so many different phases of influence, when ever I discover new music it seems to spark something new in me when I’m writing songs. I’d have to say the band that made me want to pick up the guitar was Led Zeppelin; Jimmy Page is a brilliant guitarist. Zeppelin’s acoustic stuff like Hats off to Roy Harper, Bron Yr Aur and Battle of Evermore led me to folk music. I found Bob Dylan, he’s probably one of my biggest influences his lyric’s ability to create imagery are incredible. Neil Young too he’s in the same league as Dylan for me.

4. Favourite piece of equipment, software or instrument for getting your
sound?

I’d be lost without my guitar I'm rarely parted from it. Software wise Steinberg’s Cubase 5 is what lets me capture everything I make.

5. What is the biggest challenge you face in getting your music out?

The biggest challenge is getting it to the people who want to hear it, I’m on most of the major social networking sites. For a long time even my friends didn’t know I wrote music. But I found Myspace a few years ago and that changed things. But I think lately Myspace has been in decline so I’m trying to find new ways of making my music available. It’s a matter of the people who are passionate about music, discovering you I have to make it as easy as possible for them.

6. What was the most memorable party you have ever played at or been to?

The most memorable place I ever played was a festival in Liverpool, my band played a set in the pouring rain, in front of maybe a dozen people but that didn’t matter it was probably the first time I enjoyed playing live.

7. What's your opinion on the current copy right system, is it working
or does it need to go?

I think the music industry as a whole is suffering from a lot of problems. The copy right system we have at the moment does need some reform. I think the Creative commons license concept is great though. Things have to be fair, fair to the consumer and the musicians making the music.

8. If you weren't making music what would be your outlet?

I used to like art in high school and I often thought about studying art at college. I like creative writing too, short stories that sort of thing. So maybe I’d try those.

9. Where do you want to be in 5 years time?

Ideally I’d like to be making music, whether it’s paying my bills or not isn’t really important at the moment. I’m studying for a degree so that’s my fall back.

10. Anything else you want to tell people?

Hmm. I guess if you’ve read this you’re interested in my music and who I am so thank you very much.

___________________________________________________

My EP is available to preview now along with 2 free downloads. It's on sale for just £2, please go and download the free tracks! CLICK HERE NOW

My New EP - The Sea

2010-02-08T23:46:00.000Z

It's been released today on Binary Indy, it's available here.

Here's the spiel from Binary: "The Sea is a wonderfully honest EP of British Folk and acoustic music. Combining Low-fi recording techniques with his own soulful instrumentals and vocals Matt has created something reminiscent of early Lou Reed and the Velvet Underground. If you like wispy vocals, acoustic guitars and soulful vocals this one is for you." (I thought it was very flattering)

Basically this is my first proper EP, I'm very proud of it, even though there are lots of little things I pick up on that I'd like to change. But I'm like that with a lot of things! I'd just like people to hear it, it documents a section through my life. I really enjoyed making it, I'm working on the next one as we speak, if you click the link you can listen to previews of all 5 tracks and download 2 free ones. For £2 you can buy the whole thing, I hope you enjoy what you hear. That's the main thing.

Available here.

Neil Young

2010-01-28T22:58:00.003Z

Neil Young. His music has had an unprecedented impact on me. He creates vivid imagery with just a few lines and is undoubtably one of the Rock's rawest guitar players, often being sited as the Godfather of Grunge. His work transcends genre ranging from Folk to R&B, Country to Electronica & Blues to Rock & Roll. He has created a body of work which has confounded critics as he constantly reinvents himself often releasing music wholly different from what is expected of him. After the massive success of his best known album Harvest, the 'ditch trillogy' began; a complete u-turn in musical and lyrical terms.

I won't go on to write a complete biography of Young's life, you can find that on Wikipedia here, however if you're a fan you may be interested in reading Jimmy McDonough's biography Shakey, I've read it an I found it fascinating. Young's career began with Buffalo Springfield in the mid 60s, when the band split he began to work as a solo artist releasing 2 albums before collaborating with Crosby, Stills (who had also been in the Buffalo Springfield) & Nash in the early 70s. 1972 saw Young's seminal album Harvest, he continued to release albums throughout the 70s and 80s covering numerous genres from Rockabilly to Electronica. The 90s saw a resurgence in popularity as he toured and recorded with Pearl Jam. He has recently released an archives collection spanning the first 20 years of his career.

I don't pretend to like every song Young has ever released, I don't, but the vast majority of his music is worth delving into. The Songs I'm going to share with you here are among my favourite, I like far too many of his songs to post. If you have Spotify, you can find a playlist to accompany this post with all of my favourite Neil Young songs here.

In Roughly Chronological Order:

Mr Soul

Cinnamon Girl

Down By The River

Tell Me Why

Southern Man

Helpless

Ohio

Heart of Gold

Old Man

Alabama

Walk On

My My, Hey Hey (Out of the Blue)

Like A Hurricane

Cortez The Killer

Keep On Rockin' In the Free World

I hope you've found this interesting, I've been meaning to write a post about Neil Young for a while now, I hope that you will watch a couple of the videos and find something you like. Young's music is well worth discovering.

You can find the Spotify playlist to accompany this post here.

Sky Blue Sky - Wilco (2007)

2010-01-25T23:20:00.002Z

This is such a brilliant album, I've loved it for years, it's relaxing yet quirky. The lyrics are excellent and the arrangements and instrumentation is perfect. Nels Cline's guitar work is quirkyly exquisite. I listened to the whole album last night in bed, I hadn't listened to it in a few months. But it made me realise how great an album it really is.

Wikipedia article can be found here

One of my favourite songs from the album Impossible Germany:

Sky Blue Sky:

You Are My Face:

A great album I highly recommend it.

Musings on Musical Texture.

2010-01-20T18:33:00.001Z

I realised last year that I could make my music far more interesting simply by making better use of texture. Some of the greatest songs ever recorded are examples of expert musical use of texture - the layering of instruments within a song. Now I’m no musical expert, even though I’ve never studied academic music, excluding music tech of course but I am a decent musician.

I was writing a song earlier and I was layering up harmonies and melodies, not the normal way I go about writing - I normally start simple and work up but I’m trying new things.
Anyway let me site a prime example of textural variation. ‘You Can’t Always Get What You Want’ by The Rolling Stones. If you don’t know it, find it. It’s classic Stones.

The song begins with a choral part but this subsides into Keith Richard’s understated acoustic guitar line. Then a French Horn, played by Al Kooper, comes in panned hard left with Mick Jagger’s vocals coming in a few bars later as the Horn part drops out. As the prechorus begins a shaker adds rhythm.
As the chorus comes in a gospel choir enters along with drums, percussion, Richard’s bluesy electric lead guitar line as well as Al Kooper playing the piano. As the verse begins a Hammond Organ, again played by the great Al Kooper, comes in riffing over the piano line. The song ebbs and flows. It climaxes with the return of the full choral chorus and it seems every possible instrument is layered into the song over the chord progression as the tempo doubles up.

This expert use of texture is what bakes the song so brilliant. There are hundreds of songs that also use the same technique. To name a few: Stairway to Heaven (most Led Zeppelin songs are texturally exquisite), Hotel California - The Eagles, the Phil Collins one of the Cadbury’s advert (R.I.P Cadbury) and many more, almost all good ballads. However saying that texture is just one aspect of a good song. There are many brilliant songs with very little textural variation.

LiverpoolAcoustic.co.uk

2010-01-16T22:30:00.003Z

My interviews with musicians and singer songwriters can now also be found at LiverpoolAcoustic.co.uk at the moment my most recent interview with Rachael Dunn can be found here.

Liverpool Acoustic is a brilliant central resource for anyone interested in acoustic music in the Liverpool & Greater Merseyside. I originally found out about the site while looking for gigs for my band CGW last year. The site has a comprehensive diary of open mic nights, gigs and festivals happening in and around Liverpool, well worth a look if you're a musician or not!

An Interview with Rachael Dunn

2010-01-11T15:21:00.002Z

For this years first interview I was lucky enough to speak with Rachael Dunn, a north-west singer-songwriter who the Liverpool Echo described as having "warm, sweet, intoxicating vocals and gorgeous insightful songs." Having performed on BBC Radio Merseyside her music has also been aired by several American radio stations. Rachael's next album 'Alpha Ghost' is slated for a Febuary release.

You’ve become part of the Liverpool acoustic scene within the last few years what made you want to perform live?
My first live gig was May 2008 at 'The Mocha lounge' with encouragement from local poet and writer Amanda de Angeles I decided to share my music, Prior to that the idea of getting up in front of people scared me to death, and although my first live experience was nerve wracking and scary, I felt such a buzz and rush of adrenaline, overcoming fear can give you a real sense of achievement.

What drove you to write your music?
Being born into a very musical and artistic family was the driving force that lead me to be creative on many levels. Visual art was my first choice of expression but I had an underlying fling with music, it's something I picked up and put down many times throughout my life. In March 2007 I found myself becoming more drawn towards music and after polishing up and improving my guitar skills the song writing started to flow.

Which artists/bands influenced you as you began to write? Would you say these people still influence your music?
I grew up listening to Kate Bush, Clannad, Japan and David Sylvian, my brother who is five years older, certainly influenced my musical ear. I’ve always had very eclectic taste and love 50's and 60's harmony bands like Dion and The Belmonts and The Everly Brothers. When it comes to my own style of music I think melody and harmonies are very important.

What inspires you to write?
My inspiration to write can be triggered by many things, all the things life throws at you, weather positive or negative I try to put a reflective or spiritual slant on what I’m writing about, rather than bitterness, pain or blame. I’m inspired visually by the beauty of nature and also the harsh contrast of the changing seasons.

How do you approach song writing, do you find it is different each time or do you have a formula that you stick to?
Generally I start with a theme or idea of what the song is about then I try to seek out the music on my guitar, after I have a melody I'll write lyrics and the song comes to life sometimes instantly other times more slowly over a matter of days or even weeks.

Which songs do you wish you could have written?
To me songwriting or any creative expression is so personal and individual that I never really wish I had written someone else’s songs. Although we all aspire and are appreciative of great music, your own songs are a little piece of you and you cannot be someone else.

A lot of musicians struggle or are reluctant to categorise their music what genre would you place your music in?
Everyone will have a different opinion so its difficult to pin down what my style is but if forced to categorise I would say Folk/acoustic organic and natural. Although with any genre of music you either like it or you don’t.

Are you writing at the moment?
I’m writing with musician and producer Alex Dun ford on various songs, for my forthcoming album 'Alpha Ghost' that I'm releasing at the end of February all being well.

What's coming up for you, any gigs or recording?
My next gig is on 26th Feb. The Folk Upstairs @ The Zanzibar and my album 'Alpha Ghost' will be available from the end of February and all the details will be on www.myspace.com/rachaelveronicadunn

Florence & The Machine - Lungs. A 6 Single Phenomenon.

2010-01-09T15:13:00.000Z

It’s pretty rare when a single album has 6 singles taken from it. The norm is 1 or perhaps 2. Lungs’ next single will be. ‘Hurricane Drunk’ in March. Now whether or not you like Florence & the Machine you can not deny their success, with Lungs being certified platinum; selling 300,000 copies in the UK alone. And reaching No.2.

Clever marketing by her record label, Island, has seen tracks from the album appear in Channel 4’s hit teen drama Skins as well as appearing on the sound tracks of American blockbusters aimed at US teens such as Jennifer’s Body.
It is interesting to note that singles have been released over 2 years with ‘Kiss With A Fist’ being released summer 2008. Long before the album was even recorded. If you listen to the song with the rest of the album it seems strangely out of place from the album as a whole.

The critical aclaim of the album, with the Brits’ Critic Choice award being won even before the albums release, along with the considerable hype created by NME mean that upon release it was almost certain to be one of the years ‘big’ albums, it has been voted just that in several ‘Album of the Year’ articles. Held from the top of the chart only by MJ’s untimely death and an unprecedented out pouring of grief and cash on the hastily assembled MJ best of. Incidently MJ's albums 'Bad' & 'Dangerous' had 10 singles taken from them.

The reason for this post is not to review the actual album and whether you like the album or not you have appreciate how unusual it is for and album, a debut at that, to have 6 singles taken from it. Especially so when none of the singles reached the top five. With ‘Rabbit Heart’ reaching #12 during the albums period of maximum hype. It is also interesting to compare Robbie Williams’ ‘comeback’ album ‘Reality Killed the Video Star’ which was also a No.2 album; being narrowly beaten by JLS’ debut. Robbie’s album has had just 2 singles taken from it both reaching the top 10. So is it possible that Florence & Island Records are chasing a top 10 single or perhaps a No.1?

I think the main reason so many singles have been taken from Lungs is because the album has been in the top 40 UK for 26 consecutive weeks, a long time. It’s half a year exactly, in the music business that’s a lifetime.
While Florence’s label may have been expecting a bigger hit, than #13 with ‘You’ve Got The Love’ perhaps they feel they’ll strike gold with ‘Hurricane Drunk’. To finish on a cliche, only time will tell.

Some albums I'm looking forward to in 2010

2010-01-05T19:58:00.042Z

Massive Attack - Heligoland (8th February)

Peggy Sue - Fossils and Other Phantoms (5th April)

Laura Marling - I Speak Because I Can (22nd March)

Fionn Regan - The Shadow Of An Empire (8th February)

Vampire Weekend - Contra (12th January)

Album preview available on their myspace, click link

John Butler Trio - April Uprising (mid 2010)

(lead single artwork)

Adele- TBC (late 2010) She says it's half finished.

Damien Rice - TBC (2010?)...it's a long time due, he's been recording.

Johnny Flynn & the Sussex Wit. - Been Listening (June 7th)

Fran Healy - Wreckorder (Second half of 2010)

I just found out about this, Paul McCartney, Tom Hobden (from Noah & the Whale) and Neko Case all play on it!

Crosby, Stills & Nash - TBC - Covers Album (2010?)

MGMT - Congratulations (Spring 2010)

Jakob Dylan - Women & Country (19th April)

Jack Johnson - To The Sea (June 1st)

.

Rumours for the end of the year:
David Gray, Coldplay and Laura Marling albums due..

To be updated!

My 2009 in Albums.

2009-12-22T13:00:00.005Z

I realised the other day that I can sum up my year by all the albums I've found this year. I tend to find albums that I love quite often, lucky really, and this year has been really good for finding really great albums! I have phases when I find and album where I'll just listen to it over and over. And in a way I can gage how good it is by how long it takes me to get tired of having it on repeat.

So the albums I'm going to mention aren't all from this year, some of them aren't even from this decade! There have been some big albums this year, Kasabian, U2, Florence & The Machine, La Roux & Little Boots all of them were highly anticipated by the big music mags. I liked some of them but I'm not here to pass judgement, there is music for all people and I'm going to share some of the albums that I've loved from 2009.

Alela Diane's To Be Still. She played Glastonbury this year and I found her watching the coverage of that. This is her second album. Now I'm a Folkie so when I heard this album it was heaven, the songs are beautifully written, here finger picking style is exquisite and her soaring voice is a delight. I think from May onwards maybe until August I listened to this album everyday. Stand out tracks include: 'White as Diamonds' & 'Tatterd Lace'.

Yeah Yeah Yeah's It's Blitz! I had listened to their earlier stuff and liked some of it but this album blew me away. It's a great record especially the first half songs like 'Zero' with its synths and I couldn't help loving 'Heads Will Roll' either.

The XX's eponymous debut is a polar opposite to It's Blitz! But the duets on the album are great, like 'Crystalised' and 'Basic Space'. The minimalistic guitar lines are surprisingly catchy and coupled with the synth soundscapes and drum rhythms kept me listening.

Kasabian's West Ryder Pauper Lunatic Asylum. They've been hailed as the successors of Oasis. But I'd say they're a very different entity. Songs like 'Fire', 'Underdog' & 'Vlad the Impaler' are brilliantly catchy, Kasabian always seem to have a natural ability to create songs with amazing groove.

Noah & the Whale's The First Days of Spring. Another Folk album, it makes sharp contrast to their rather up beat first album. When I first heard this album it levelled me. An exquisite 'break-up' album. The lead singer had split from Folk Singer Laura Marling. The arrangement and texture of the songs are understated letting the conviction of the song come through. The instrumentation and vocal harmonies are great too. 'My Door is Always Open' closes the album and out of the melancholy of the rest of the album gives a glimpse of optimism.

Florence & the Machine's Lungs surprised me, not at all what I expected. But I thought it was a really eclectic album, 'Rabbit Heart' and 'Dog Days are Over' are probably my favourite, and I know some people say her cover of 'You've Got the Love' isn't as good as Candy Staton's original but I still like it. Plus I think she has a great voice and I love the use of harp.

Neil Young's On the Beach, this album is over 30 years old but I recently fell in love with it, I'm a huge Neil Young fan, but my favourite album had always been Harvest. On the Beach has some amazing songwriting on it. The groove to the opener 'Walk On' and the dark feeling to songs like 'Revolution Blues' & 'Ambulance Blues' is phenomenal. Young's guitar playing is incredible too, really sharp and cutting, like the lyrics.

Mumford & Sons' Sigh No More, another Folk album, I was surprised how well this album did in the charts for a Folk album. I like this album, but it gets a little repetitive as almost all the songs end with a Crescendo. Still some really great songs like 'Little Lion Man' and 'Sigh No More'. I love the banjo playing on this album too.

Blind Pilot's 3 Rounds and a Sound was on repeat for months, it's just such an easy album to listen to. The vocals have this smooth relaxing tone and the simplicity of most of the songs, just vocals, guitar and, percussion, is very appealing. While the music is simple the songs like 'The Story I heard' and 'One Red Thread' are quite catchy. Other stand out tracks include 'Paint or Pollen' and 'The Bitter End'.

Neil Young's Everybody Knows This Is Nowhere. OK The two albums not from this decade are both Neil Young albums but, last year was the year of Dylan this year it's Young's turn. Like On the Beach I had never really paid much attention to this album, until this year. The album's 41 years old but it's brilliant, Young's guitar work on this record is breath taking. The album has 3 of Young's greatest rock songs on it, 'Cinnamon Girl' opens the album, the second is the epic 'Down by the River' an ode to drug addiction clothed in metaphor with a barn storming 5 minute guitar solo and the closing 'Cowgirl in the Sand' which spirals into an 10 minute jam. The think that makes this album so good is that the songs between these three colossal tracks are also fantastic.

Jakob Dylan's Seeing things. He played on Later with Jools Holland last year I think, but at the time I wasn't overly impressed by him, but when I heard the album and especially the song 'Evil is Alive and Well' my opinion was quickly inverted. He has a distinct voice like his father however infinately more ear friendly.

Ludovico Einaudi's Nightbook. Now and then I discover some new Contemporary Classical music, one of my favourite oxymorons. And Nightbook really grabbed me. The piano driven songs interweave with a swelling string section and the use of 'contemporary' percussion gives the music an edge. 'Lady Labyrinth', 'Nightbook' & 'Reverie' are my favourite tracks.

Mason Jenning's Blood of Man was much heavier than his previous album, moving towards a heavier sound. I was struck by one song in particular, 'Black Wind Blowing', a dark story of murder and revenge. And the dirty groove of 'Ain't No Friend' reminds me of the Black Keys. The album has a delicate side too with 'Blood of Man' featuring some delicate classical guitar playing.
The whole album was self recorded with Jenning's playing all of the instruments himself as well as producing, I really love this album.

Travis' Ode To J.Smith. I really liked this album, it's their sixth album and it shows they're still growing. They're known for their soft-acoustic-rock sound but on this record they went back to the heavier sound of their first album and went heavier. Released in 2008 on their own Red Telephone Box label, I thought it was a really great album, they explained that all the songs can be placed in order to make up the day of 'J.Smith' which is a cool concept.
Some of my favourite tracks were 'Chinese Blues', 'Get Up', 'Song to Self' & 'Last Words'.

Johnny Flynn & the Sussex Wit's A Larum. I only recently found this album and I fell in love immediately, it's another folk album, Johnny Flynn like Mumford & Sons and Noah & the Whale is part of the London Folk Scene but all three artists have their own distinct sounds. The album features some excellent Banjo, Guitar and Mandolin playing and the Violin arrangements give the album an atmosphere of its own. Some of my favourite tracks are 'Hong Kong Cemetery', 'Cold Bread', 'Eyeless in Holloway' & 'The Wrote and the Writ'.

So these are some of the albums I've enjoyed this year, there are plenty of others I could have mentioned like Dylan's Together Through Life & The Dead Weather's Horehound or half a dozen others but the albums I've mentioned are the ones I listened to most and have influenced me musically. What were your favourite albums in 2009? Comment and let me know.

"Power to the People"

2009-12-20T19:35:00.006Z

So Rage Against the Machine beat X Factor Joe to the Christmas No.1 spot. And within minutes Facebook was flooded with "Yay Rage!!!!!!" & "FUCK YOU WON'T BY WHAT YOU SELL ME COWELL" and then I saw this status:

"Enjoy this evening, blast the heavy rock until the neighbours complain. We won't get another night like this for a long long time; this is a night of fucking revolution!"

I read this and I had a flashback to Network's "I'm as mad as hell" scene. Well not really. But it has made me think, if this "revolutionary" sentiment is held by young people, the person who posted that status is 16, the sentiment is sadly misdirected. The mass media culture my generation and the previous generation has been born into has somewhat clouded how we see things.

X Factor Joe.

There are more important things happening today in this world than some manufactured TV talent show winner being beaten to the 'top spot' by an American Rock band. War, famine & Climate Change spring to mind.

Their is an interesting paradox here, mass media has helped to inform us about the dire things that happen in this world that's why the 1960's saw so much protest against the Vietnam War & the plight of African-Americans, TV showed people for the first time what was going on. However now it could be said their is the danger that we're becoming desensitised to things like this.

I don't fully believe this though, but I wonder what you think. The protests in London against the war in Iraq showed that people still care enough to show how they feel on a mass scale but perhaps it is interesting to note that in 1969 the poster of that status may have said something very similar about Civil Rights or Nuclear disarmament and not the out come of a Chart battle.

An Interview with Rob Clarke.

2009-12-19T17:00:00.001Z

Rob Clarke is a Liverpool based singer/songwriter his new album 'Portraits' is out next year. His work has an honest tone and quality which makes his finely crafted music all the more listenable. The Liverpool Echo has praised his work as being "memorable songs that... evoke the spirit of Liverpool." Rob spoke to me about his upcoming album and about how he goes about writing.

So in the beginning, what made you want to write your own songs?

I was listening to Gimme Shelter by the Stones - had it on downstairs loud enough I could hear it upstairs in the bath- I knew some other people who played guitar so I’d thought I'd leave that to them – didn’t want to follow the herd so to speak – but then it just suddenly struck me I was prepared to do whatever it took or spend any amount of time to play guitar even a bit, even just a few notes or chords...

Who influenced you as you began writing? Do these people still influence you?

From there I always wanted to write songs, everyone that I admired did that and it became the biggest part of it almost straight away – I was trying to write songs before I could play to any standard at all really and I soon found that was pretty much the best part. Have you read Shakey?(The biography of Neil Young by Jimmy McDonough) To me if I’m not sure about something I always try to think what Dylan or Neil Young would do – and if that doesn’t work I think what the Beatles or Stones might do – so they pretty much cover if for me.

Your song Long Way north, has some strong imagery, it reminds me of early Bob Dylan, would you say Dylan is one of your influences?

Yes, a friend of mine offered to get me a copy of North Country Girl when I said I’d heard it ages ago and was trying to remember it but he took a long time to give it to me – after a while I thought it must be easy to play from my memory of it – it didn’t occur to me to get it off the Internet for some reason – anyway in doing that I ended up doing my own type of version, thought that would be more productive.

So that’s how it happened – it was that and also playing in folk clubs where a lot of the songs people sing have narratives to them so I’ve also been influenced by that sometimes as well. Funny though when I play it very few people seem to pick up on how similar it is structurally...

What’s you’re instrument of choice?

Guitar is good, also piano although it sometimes seems more difficult to write on...

What would you say your muse is, what inspires you when you write?

Songs are all around but in saying that they can be easy or difficult to find depending on your state of mind. I think you can write about absolutely anything, anything that’s happened domestically or socially, people you come into contact with and especially things or events that go on in the world or where you live – I’m surprised really that more people don’t write songs about some of the big things that actually happen in the world for good or bad – maybe that’s a part of 'dumbing down'? John Lennon or Dylan weren’t afraid to write songs about real subjects... so what’s to fear? To me a song is basically just your own point of view about something - the judgement about how good or bad it is for later...

Once you get in the zone you can write about anything really – the ideas are all around but once you come out of the zone it can be difficult to see that – Recording and rehearsing can break the flow because you almost inevitably get into a different mindset...what does that tell you – stop rehearsing and recording!

Your song North to West, from you’re forth coming album, is just you and a piano do you favour a stripped back sound?

Yes very much – I like real sounding things but then again I like electric guitar as well so I want to do that ASAP as well...

How do you approach song writing, do you find it is different each time or do you have a formula?

No formulas for me anyway but wouldn’t rule anything out -instinct is probably better though...

You have a new album coming out soon called Portraits, what's the album have in store for listeners?

Ten stripped down acoustic portraits of people and in some cases animals... so if that’s your bag this one’s really for you! The publicity for it will say something like ‘Or an artist, two footballers and a hedgehog’.

How would you describe your music, genre wise? A lot of musicians struggle or are reluctant to categorise their music.

I’m trying to make it timeless I think.

Rob's new album 'Portraits' is scheduled for release on the 28th of February, you can find Rob's critically acclaimed previous album 'Long way North' available to buy on his myspace page here. Also on his myspace you can find his upcoming double A-side single, 'End of the End/Tracey Emins Blues' due to be released in early February.

Wonderwall Music

2009-12-18T13:51:00.010Z

It must have been 2007 when I first listened to this album, I can't exactly remember where I found it, it's not widely known or available, but it might have been through my guitar teacher we used to exchange a lot of different kinds of music that we both used to buzz off so it might have been him. But regardless of where I came across this album it opened up a whole new avenue of music to me.

The album's cover.

George Harrison's Wonderwall music is perhaps the most interesting concept album I've ever heard. Recorded partially in 1967 in England and then partially in 1968, during the Beatles' trip to India and released on the Beatles' own label Apple. When I first found it I was amazed by the sound of the thing, the Opening track 'Microbes' is awash with Sitar drones and as the album progresses the styles move through Russian folk music mixed with traditional Indian Sitar & Tabla music to farcical movements of music inspired by Cowboy movie soundtracks complete with Tack piano.

Harrison probably more so than the other Beatles' embraced Indian music, above he's being taught to play by Ravi Shankar, a Sitar maestro, Indian classical music played a large part in the later Beatles albums and Harrison can be credited bringing the Sitar and other Indian instruments into western music.

Wonderwall Music is a concept album made up of mostly instrumental tracks, some of it verging on what might be classed as Psychedelia, but I'd say the album touches upon more musical bases than 'Revolver' or 'Sgt. Pepper' did. Many of the familiar techniques from the Beatles' albums can be heard such as the reverse Guitar & Sitar solos.
However the album isn't all Indian music, 'Party Seacombe' is quintessential Revolver era Beatles all it's lacking it John or Paul's vocal line. In fact the only track with any vocals on is 'Dream Scene' which features an Male/Female duet sung by Indian singers.

The album reaches its "conceptual" peak on the 1.16 minute track 'Crying' as a screeching drone begins, that sounds a lot like crying, but it abates into a melancholy melody. This, probably the least 'mainstream' track of the whole album, gives way to 'Cowboy Music' a plodding homage to Cowboy movie soundtracks complete with Harmonica and Lap steel guitar.
'On the Bed' features Flugelhorn over a piano drenched in a chorus effect, while a weaving guitar solo is played over the top of it, as the drums swell in the mix and push the song along.
The album ends solemnly with 'singing omm' which is exactly what it does over a droning Harmonium and a beautiful melody line from a Flute.

George Harrison teaching Micheal York in January 1968

This was Harrison's debut album, not exactly a mainstream offering, but then again I don't think Harrison was trying to get in the Charts. (It actually reached #49 in the USA in 1969, the height of the Psychedelic era.) I think this concept album is a testament to a musician who made the music he wanted to make. That's maybe what impressed me most when I first heard it, I realised that you could make whatever music you wanted, as long as you liked it. Listening to this album opened up me up musically, I hadn't heard Indian music at all before and hearing a Sitar for the first time amazed me. It was the catalyst for a major interest in Classical Indian music but I hadn't listened to this album in over a year until today. I don't know what made me put it on but I'm glad I did and I thought I'd tell you about it.

I've embedded some links in the titles of some of the tracks I mentioned but here is one track I didn't mention called 'Gat Kirwani'.

"Microbes" – 3:42
"Red Lady Too" – 1:56
"Tabla and Pakavaj" – 1:05
"In the Park" – 4:08
"Drilling a Home" – 3:08
"Guru Vandana" – 1:05
"Greasy Legs" – 1:28
"Ski-ing" – 1:50
"Gat Kirwani" – 1:15
"Dream Scene" – 5:26
"Party Seacombe" – 4:34
"Love Scene" – 4:17
"Crying" – 1:15
"Cowboy Music" – 1:29
"Fantasy Sequins" – 1:50
"On the Bed" – 1:05
"Glass Box" – 2:22
"Wonderwall to Be Here" – 1:25
"Singing Om" – 1:54

If you're interested in the Beatles or Indian music you should listen to this album.

An Interview with Aclaimed Norwegian Songstress Ragz

2009-12-04T20:47:00.028Z

The first musician I spoke to for my series of interviews, songwriter-to-songwriter, was Norwegian born Ragz Nordset. Based in Liverpool she has recorded two EPs Little Stings & Love You Still and played with the likes of Laura Marling, Mumford and Sons & David Ford. Critically aclaimed, described by Liverpool.com as 'Startlingly original' and The Fly Magazine has described her as an artist who bares her "soul through beautifully crafted songs", she gave me the chance to see what inspires and drives her to make music.

Starting at the beginning, what made you want to start writing your own songs?
I can’t remember how old I was, but at some point as a young girl, I started writing. It was just this emotion or vibe inside me and it somehow made sense to make that into songs. As silly as it may sound, it has the same effect as hunger or thirst. If I feel hungry, I eat and if I feel a certain way, I write.

Who influenced you as you began writing?
I grew up listening to my dad’s vinyl collection which contained everything from led zeppelin to Motown and think that was already in me when I started writing my own songs. It’s hard to say what bands or which music influenced me early on, but I actually think the biggest influence was just my big brother. He played guitar and that’s how I started too.

What is your instrument of choice? Do you find that playing other instruments inspires you differently?
My instrument of choice will always just be my voice. Guitar and piano comes as a joint second. Even though I love playing both piano and guitar, they are still just a way for me to carry or inspire motions in my voice. It would be the same way with any instrument really, they trigger different emotions in me and that way inspire different kinds of melodies and songs.

What would you say your muse is, what inspires you when you write?
My muse... I suppose my muse is my life. It’s all based on pure emotion – any changes in myself or people around me will, if it’s significant enough, almost force me to write. The need to tell, express, release or scream about something will, more often than not, become a song.

How do you approach song writing, do you find it is different each time or do you have a formula?
I wish I had a formula, but the only thing that is always the same is the decision and need to sit down and start something. The melody, if I’m patient enough will come alive through the chords I try. I never know how it’s going to pan out, but I hear that is a normal observation for most songwriters.

You're Norwegian, so I was wondering did you start writing/singing in your own language and then switch to English? Did you find this difficult when writing?
I’ve sang both Norwegian and English songs whilst growing up, but I’ve always written in English. I suppose that’s because most popular music was in English in Norway when I grew up. I never thought ‘bout it till a little over a year ago and decided to change my approach a little. I only wrote my first Norwegian song last Christmas, whilst visiting family in Norway. I’m trying to write in both languages now, but it’s still easier in English. Ask me again in ten years and that might have changed.

You've supported the likes of Laura Marling & Noah and the Whale - artists coming from the London folk scene. Do you see yourself as having a lot in common with them style wise?
This is a bit of a difficult one as I still struggle to find artists that I feel I properly share ground with. Regardless of where I am, I stick out like a sore thumb, style wise. This because my music might look folk based (girl with acoustic guitar), but I actually don’t think I fit the folk genre in its traditional sense. On a personal level I feel like I’ve connected with many artists from different scenes. Style wise, I’m still developing.

Are you writing at the moment?
I haven’t written a song for a few weeks now, due to touring and travelling, but there are a few brewing at the moment.

What's coming up for you, any gigs or recording?
We’ve just finished a tour, but there are some northwest based gigs coming up for ‘Liverpool Music Week’ and other events. As for recordings, I reckon early 2010 will bring some studio time for us.

A lot of musicians struggle or are reluctant to categorise their music. How would you describe your music, genre wise?
It’s always about the song for me, which sometimes makes it hard to categorize, but at the moment I would refer to it as acoustic pop/rock. You never know though, as soon as we get the right producer involved, this might change depending on what suits and completes the songs. We shall see.

Ragz' music can be heard on her myspace: myspace.com/ragzmusic. Her EPs Little Stings & Love You Still are available to download, you can find the links on her myspace. Her finely crafted songs coupled with her brilliant voice make her well worth a listen.
I hope you enjoyed this first installment, the next interview will feature liverpudlian singersongwriter Rob Clarke.

The Harmless Musician Type.

2009-12-04T20:15:00.003Z

This is a brand new blog about music but more precisely a blog about making music. I write songs, it's my hobby and I've always been interested in how other people write theirs. So I've begun this blog which will feature interviews with musicians and songwriters. I personally love to find out the inspiration and stories behind songs. And I'm hoping you do too.

When ever I tell people I write songs they often say "I'd love to be able to write songs" and personally I think there is very little that really stops people. Short of being tone deaf of course. Playing an instrument or being able to sing are not a prerequisite, I'm a prime example of the latter. So I'm hoping to find out what makes some of the North Wests singer/song writers tick, why they write, what inspires them and how they do it.

I hope this blog will introduce you to some great unsigned people that are writing and playing in the North West right now. As well as discover how the art of songwriting is approached by the people who have a passion for it. Maybe you'll be inspired too.

My music can be found here