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Author: Ray A-J

INTERVIEW: Peter Cox – An 80s Icon!

Posted on by Ray A-J

“I earn money sitting in a people carrier at two in the morning”- Go West’s Peter Cox

The King of wishful thinking, is on the phone with Ray A-J, and wants a word (or two)….. about his upcoming tour and appearance at the Brighton Centre.

Friday morning. Sitting by the phone. Waiting. Then…. Ring!

None other than half of rock/pop eighties duo, Go West’s Peter Cox is on the other end. He’s cool, calm, and coming to Brighton for his latest tour – no, not in a people carrier.

Ray: Hello, how are you this morning?

Peter: I’m good thanks, and yourself?

R: Doing good, cheers. So I understand you’re touring, and playing in Brighton soon?

P: Yes, alongside Nik Kershaw and Cutting Crew.

R: What’s it like touring with them?

P: It’s good performing with Nik Kershaw. You know, in the eighties I didn’t know him very well, but I’ve got to know him more recently and he’s funny. He’s quite a dry individual and quite generous. We have performed together a lot, Go West and Nik, we’ve done some duets and played on stage together. The crowd probably come out to hear Nik do his songs, but he lets me have a verse or two which is great.

We talk over his past performances with Cutting Crew and Nik, and throughout he’s engaging and reminiscent – it genuinely sounded like a hoot to perform with the artists, rather than just touring alongside them. Remembering the early days and previous gigs with Richard Drummie (other half of Go West), Peter continues:

P: We’re the core of the band, him and I, we’re more of the songwriters. Our current and previous live band members are great, they do a good job and they are part of the band too. We’re the songwriters so we spent a lot of time together during our fifteen minutes of fame. We were in each others pockets. We had to compromise on songs, which could be difficult at times. Then we were touring and I fell in love with California, and Richard didn’t want to move.

“My record company said: can’t you get in bed with somebody famous?”

R: After Go West, you had a solo career, how was that?

P: Yeah I did, my solo album ‘Ain’t gonna cry again’ made a little noise. It was something I needed to do….for my soul. As I said before, collaboration is a compromise, and it’s great but you may not have the song you originally set out with. It’s the age-old story of the typical singer of the band that leaves to have a solo career; I wanted to try my own thing and make my own music. The album sounds of its time I suppose, it was made about 1997. It’s a Pop record really.

R: You recently had the Damn the Breaks album I believe, how different was it making that album versus the Go West albums?

P: Well, as I said with the previous album, it was different. It was slightly easier because I can make decisions without running ideas past someone else. It’s great collaborating but you don’t always agree, you may have a line you really like but they may not like it.

“Compared to Beyonce, I’m essentially invisible. ”

Making a record was dramatically different back then, you would write the song then do gigs to promote it and eventually send demos in to record labels. It was hard to get noticed which was part of the challenge. Go West were signed to a publicist for three years before we put anything out; we were focused on writing a good track. We would have funding from record labels to make songs, and perhaps spent too long on them in the second album, that’s why it wasn’t as good as the first. For this album I actually went through crowd funding and pledge music to create it, because there wasn’t a record company budget.

R: Well the first songs you did were very successful. We close our eyes was it?

P: Yeah it was our first song, I wouldn’t say it was that successful though. We had about 4 UK chart singles in 1985 for over a year, but then the second album didn’t do as well.

At this point Peter explains at length the difference between songs and their production now, and in the eighties. He seems very appreciative of the record companies and his time with Go West, and in his own words he is perpetually “over critical” perhaps, of the music they made.

P: The second album took too long to create, which meant we were too late when we released it – we were too precious with the songs and wanted to write something different from the first album. As Rich would say, “the best songs come quickly”; you would have them written in maybe a few hours or a day. But we took too long. The first album was made up of mainly love songs because that topic is universal – everybody experiences love and can relate. We were so naive back then, we didn’t really think about the music too much. But for the second album we wanted to write something different, something more serious, and it just didn’t work – it wasn’t well received.

” I spent most of 85 in terror”

R: You were still pretty famous though, what was it like?

P:  We were never really famous. I mean, compared to Beyonce, I’m essentially invisible. We had a few hits, we were a so-called overnight sensation but we weren’t really celebrities. We were probably most popular during the mid eighties (but we still weren’t famous). We did manage to tour with Culture Club which was exciting for us, it was a bit of a blur.

To be honest, I spent most of 85 in terror. I was never really comfortable with being a ‘popstar’ anyway back then. We didn’t really like the popstar image, which was bad for our record company. I remember they said to me “can’t you get in bed with somebody famous?” (laughs).

We didn’t really think about how we looked, for us it was more about the music; we’re serious musicians and we wanted to be seen like that – we wanted audiences to listen to our music. I remember we did do a cover for Smash hits, and we went to the photo shoot not knowing what would happen. Before then I’d never worn makeup and we weren’t happy when we saw the pictures because it didn’t look like us. But as a so-called “popstar”, you would be expected to feature in those magazines, so we did it.

Now, It’s a celebrity driven world. Everybody has social media and you can put your music on there, you don’t necessarily have to have a record deal. But that makes getting noticed harder because there is so much out there. Anybody can make a record now, in their room with their laptop. And this generation expect their film, music etc for free. So making a living from music is hard. The live event is the only thing you can’t steal.

R: How is performing live now, verses back then?

P: “Well our audience is older now, so it’s very different. I love making music and performing live. I don’t see performing as work, If you ask me what my job is, I earn money sitting in a people carrier at two in the morning (laughs). Music is more of a hobby now, and I’m grateful that I can carry on doing what I love. I’m proud to be a part of this tour.”

R: Yeah definitely, like live is where musicians can really grow. Like Imperfections are key, they’re what makes live great and fun.

P: Ha ha, yeah definitely. But with my performances, I want it to be as close to perfect as possible. At a gig, I was told we sound like we do on the records, and I take pride in the fact we sound like we did back then. That’s an achievement for us because it’s so hard for bands to still sound like they used to and to carry on doing music. We’re busier this year then we ever have been, which is great.

R: So what’s your favourite venue you’ve played in?

P: I look forward to all gigs. There are pockets where we are popular in UK. In the past we’ve not done as well on south coast. I don’t know why that is. But I love Brighton, if I could afford to live in Brighton I’d move there.

R: For you, what’s the best thing about touring?

P: Oh tough question…..Being on stage and getting the positive reactions. I love seeing people enjoying our music and I love performing it. I was with a band called Manfred Man for a year, and we went to Europe and Japan, and saw some bands I really love, but we were disappointed by their live performance. They were really good but were… lacking energy. So my aim really is to be energetic and entertain when performing.

Sometimes bands say they’re the best, to get people to listen to them but it’s nonsense to say you’re the best. I’m not going to try to sell myself as the biggest and best musician, or that’s what you’re going to see. If you like our music and have a good time at our gigs then that’s great. Even if you don’t know our music, I hope we are an exciting live act.

R: So what’s your favourite song to perform?

P: I like to do covers. Bruce Springsteen has amazing songs of his own, but he plays some songs by other people live. It keeps it interesting. Lots of our fans are older, so they know our songs, it’s nice to surprise them sometimes with a cover. I don’t know if you know them but there’s this band called Birds that do a song ‘Wings that I love’. We’ve done a version of that as a surprise to audiences. I think we did a pretty good version of it. We’ve performed some AC/DC songs and a good range of rock.

R: That sounds cool, like that’s such a good idea. I can imagine you doing like a heavy metal version of some songs.

P: Haha no, that’s not something I think my voice could do.

R: So we won’t expect any Guns and Roses then?

P: Haha no, I’d like to but it doesn’t suit my voice. I don’t think I can go that high.

R: (laughs). So you like covering rock live, but who inspired your music?

P: Oh…good question. I take inspiration from a lot of 70s reggae, like early Bob Marley and that sort of sound. I also really like Motown and soul – older stuff. With our album Futurenow, we took a lot from that sound as our inspiration. It had a reggae feel, and we tried to create something different from our other albums, with some R&B inspiration too, but women didn’t relate to it and it didn’t work. That album took forever to finish…. We should have taken ourselves less seriously with that one, but that’s easy to say now what we should have done.

R: Hindsight is always a good thing.

P: Yes, Hindsight is a wonderful thing. Looking back there was a lot we could have done.

R: But Sometimes looking back with regret….it’s not worth it, like if you didn’t do what you did you might not be on the tour now and stuff.

P: You’re being very understanding, that’s generous of you to say.

 

P: That was a long answer! But with our inspiration, I also love a band called Free and their song Alright now. I think Paul Rodgers is the best male singer this country’s produced. Rich loved them too. It’s actually how we met, because we were both members of different local bands and I had read a review of his gig and thought he sounded cool. Then we met each other at a gig we were both doing, and we just spoke about Free. Because we both liked them, we based our sound around them – we were inspired, so the compromise was easier.

R: So on the topic of collaboration, who would you collaborate with now?

P: Oh…I like some newer artists like Donna Missal. Her music is fantastic live. I’d like to maybe collaborate with her if I had to choose. But she’s quite young and I’m older so she may not know my music, or want to collab.

R: Maybe her parents might have listened to your work and maybe she’d be like, “yeah I’d love to”

P: Haha yeah maybe. There are all kinds of people I’d love to collaborate with. I’d love to work with contemporary soul producers like Max Martin. I think his work is great, so yeah… I’d love to collab with him and Donna.

R: Cool, so a lot of new music with them maybe coming soon? But, a bit of a weird question….what’s your favourite movie, and if you were a movie what would you be?

P: Bladerunner. I liked the newest one actually, I like the older ones but the newer one is really good. Or Alien, anything sci-fi. I recite the dialogue to Alien when i watch it, alone of course that would be annoying otherwise. I love film.  I’m interested in the geeky part of it – what’s behind the camera. I could talk about it all day, but I’m not going to (laughs).

R: (laughs) That’s ok, the longest answers are the best.

So after our chat, and my relentless questioning, eighties icon and pop legend Peter Cox says:

P: Maybe you could come to our show, get a ticket.

If you want to see a proper eighties legend play some absolute slammers of songs, go see Go West reunited, with Nik Kershaw and Cutting Crew, at the Icons of the 80s tour at the Brighton centre (March 22). Tickets still available and I will definitely be there to see Peter Cox rock it out, and witness the energy live.

Music Review: Talma are casting you Out to sea with nothing but a paddle

Posted on by Ray A-J

Welcome to the stormy voyage through rock band Talma’s debut E.P. Out to sea.

You’re in the middle of the sea. Empty horizons surrounding you. Brisk biting winds encapsulate the air-from every direction they’re pulling at your hair, snatching at your skin as the freezing ocean slowly laps up the side of your row-boat. You’re lost. Alone. Out to sea with nothing but a paddle. And then…

A rippling melody drowning in chorus lunges out of the treacherous ocean below. The teetering water reaches over your boat. A familiar guitar trickles its solemn song, taking on the calm after the storm. An ode to the seascape, Talma’s Starless skies curls up in a gentle wave around you. A bleak amalgamation of broken vocals and weeping guitar come raining down in a slow, light downpour.

The deep Editors’ styled vocals whisper on the wind. Talma’s Henry Adams loses himself in the confusion of the rain and sudden crashing waves of drums, until his voice is an echo drifting into the background.

Unfortunately, his low vocal line comes off a little basic; the stripped back and untouched sound is drab. It almost sounds like something from a musical – there’s a restrained quality as though it’s trying desperately to be rock but without ostracising anyone. With all of the effects that saturate the Shoegaze style guitar, and syncopated lightning drums, the vocals fall flat. They’re disinterested and can’t help but be submerged in pool of soft guitar melody and thick chords – never to be heard again. All can be forgiven though, with the promising hint of a powerhouse vocal nearing the end of the track – the illuminating beacon of a brighter lightning burst.

Suddenly we flash back to the beginning of your voyage with Out to sea. The title track is taking place in the middle of a bleak night; you’re gazing out to shore with the hope of adventure pulling you into the vast ocean. There’s a darker heaviness to the guitars and bass which cast up a dreamscape of wanderlust.

You contemplate leaving the beach behind as the pop punk emo-esque vocals tempt you, stating “it’s time to look forward”. A sultry guitar dances across the grey skyline, joined by its partner of hopeful riffs.

With the pulsing drums and suddenly courageous instrumental, you charge forward into the depths of the ocean aboard a broken down row-boat.

Once again the guitar tone is dripping with chorus, but there’s a puddle of distortion added in the instrumental which demands attention in a whirling solo. It calls up a tempest of thunder in sharp, gritty chords – a precursor to the eventual storm that will leave you cast out in the ocean.

There’s a crazed battle raging here between the lightning and the sea.  The forces of light melodic guitar versus the tag team of darker barren bass and rhythm guitar continue in a back and forth, only to be egged on by the eager drums. And then, with a crack of light across the sky, in a solemn farewell the brighter guitar wins and your rowing your way into the eye of the storm.

Fast paced drums and riveting guitar riffs call up an oxymoronicly gentle storm. Waves speed up slightly. Yet, you feel them start to subside as a calmer introduction from the next track subdues your panic into a false sense of security. But not for long.

Disaster. You’re paddling frantically as the tornado of drums from Lifeline’s chorus pulls you in. You find yourself questioning “how much longer can i stay” as the vocals echo your panic. Gradually brewing, the storm is getting stronger with each repetition of a new chorus, only to fall back into a softer verse. As inconsistent as the autumn weather, the pace in this track swirls from upbeat to relaxed with each introduction of a new segment.

Finally the song decides upon a rhythm as the tension from the vocal builds into, the now common, higher pitched cadence.

Parts of your boat begin to break off, marrying themselves to an unrelenting sea. Each fragment kisses the sides of your boat, forming the sounds of In circles’ hodgepodge drum beat. Swiftly the boat seems to dissolve into the terrifying ocean below. And just as soon as the track begins, your pulled out of this scene and into the real world.

It’s a shame, but there seems to be a terribly thin drum machine loop forming the rhythm of this track. It’s disappointing as it sounds as though it was lifted straight from a digital audio workstation computer program like Logic or Garageband.

Actually, the whole of In circles seems to pull you out of a thunderous stormy seascape, and instead reminds you of the real world. It goes entirely against the escapism music provides, falling into the realms of background music. All of a sudden the rock style from the other songs has dissipated into a lazy electronic dance track, complete with cheesy backing vocals and guitar solo. It just doesn’t fit with the album.

Oh, and then there’s the dreadful guitar solo towards the end of the song. It’s messy, barging its way into the middle of underlying riff. The clash is not pleasant to hear.

And with this, the entirety of the E.P becomes tainted. The songs of before are tiptoeing into meek and sad, but they’re just not fully committed to diving into that feeling. Tracks like Starless skies and Lifeline are now only vaguely mourning and reflective – a light drizzle compared to a downpour.

Overall the album feels a bit on the safe side to be considered ‘alternative’ rock –  it’s more diluted rock. Nothing stood out as different, and unfortunately I don’t think I’ll remember them in a few weeks.

In a world of The Smiths and Editors, Talma’s E.P is blending into the background; It’s a good sound but it’s not different or unique enough. They haven’t got their own stamp that screams “we are Talma”.  Of course I can appreciate what they’re trying to do, but perhaps they’re not all the way there yet. They’ve got potential but they’re not utilising their best qualities (guitar playing ability and gorgeous tone).

If rock were a raging sea storm, Talma’s Out to sea would be the calm shortly after. They’re the cacophony of echos, not the original clean-cut blaring call.

 

PREVIEW: Lullaby – DJ Sigala with Paloma Faith

Posted on by Ray A-J

British DJ Sigala releases new single Lullaby with Paloma Faith.

The popular DJ, producer and songwriter releases his latest single Lullaby today.

Featuring Brit award winner Paloma Faith, the electronic dance track is an amalgamation of Sigala’s iconic sound and the singer’s unique voice.

About the collaboration, Sigala said:  “I love to find unique voices, so it was a perfect match when Paloma got involved! I’m so excited to release this one, and it’s a great track to preview the sound of my upcoming album”.

Securing five top ten UK chart positions with his previous singles Easy love, Ain’t giving up, Say you do, Came here for love, and Give me your love, the electronic dance artist went on to headline a sold out tour in 2017.

As of 2017, Sigala is the number one most played British male artist on radio, with his music spending 130 total weeks collectively in the UK charts.

The Ain’t giving up producer has seen 8M worldwide sales, 800M Spotify streams, 440M YouTube views, selling 6 platinum singles and 8 gold.

Hailing originally from the Norfolk, the DJ has previously worked alongside the likes of  Craig David, John Newman and Ella Eyre.

Released by publishing giants Ministry Of Sound, Lullaby is available to buy here and stream via Spotify.

http://smarturl.it/LullabyVevo

Queens on TV: girlband Denim set to see small screen spotlight

Posted on by Ray A-J

Drag Queen pop group in production to feature on their own TV show.

The comedic crew of queens are making their small screen debut, in their TV show of the same name. Produced by independent company Red Planet Pictures, of British favourites Death in paradise and Hooten and the Lady, the mockumentary comedy series will focus on the group’s “five-star world tour” across the UK.

Set as “a hilarious and uplifting comedic serial drama about a drag queen girl band who believe they are global superstars. The catch? They now have to prove this to the world.” the series will be a follow on from their previous stage production.

First seeing mainstream success with their 2017 Glastonbury performance alongside Florence and the machine, and a spot in the Edinburgh festival of the same year, the band uniquely fuse LGBT+ topics, comedy and Pop to create their iconic sound.

Made up of Glamrou La Denim, Crystal Rasmussen OBE, Electra Cute, Shirley Du Naughty and Aphrodite Greene, the group have described the new show as an exclusive insight into their lives. “To give back to our die-hard-7-billion-strong-fanbase, we’re going to be giving an all-access camera crew the priceless privilege of following us on our world stadium tour”.

“No more camouflage. No more secrets. No more hairspray. The Denim Qweens are here. They’re queer. And occasionally, they wear sheer.”……Denim

Co-written by the girls themselves, their TV series will take viewers on a “rollercoaster journey with 5 misfits who believe that anything is possible (in a world that tells them it isn’t), and where the power of sisterhood and friendship ultimately prevails”.

Taking on a humorous facade, Denim are currently seeing audiences with live stage show Denim: world tour at the Soho Theatre London.

Joint managing director at Red Planet Pictures, Belinda Campbell explains: “their stage show tackles adversity with a unique infusion of explosive pop, glamour, intelligence, politics and humour, taking audiences on an insightful, joyous and irreverent journey.”

“Pop legends in their own minds, this swaggering five-piece retool Whitney and Beyoncé songs in a smart, uplifting knees-up”…..Brian Logan, The Guardian

MUSIC REVIEW: LGBTQIA (A New Generation) by Matt Fishel

Posted on by Ray A-J

We’re Queer, we’re here, and rocking out this year.

Welcome to the Queer rock track celebrating the Generation of freedom.

Rock is heavy, harsh, hard-hitting and inherently political; It’s a tough act to follow. So many have paved the way for the genre of rebellion, with their tangled guitars, stringy melodies, booming baselines, and whirling vocals. But few have ever hit home with Queer issues. Enter Matt Fishel.

Imagine if punk and early 2000’s rock had a baby that grew up to protest Trump at every rally, and you’d have the latest track from self dubbed Queer rocker Matt Fishel.

Decorated in its title LGBTQIA (A new generation), the punky track is the ode to past and present LGBT+ alumni “In every creed, race, religion and society” all in a lively thrash of head bobbing rhythms.

Matt Fishel
Matt Fishel

Sharp is the blade of guitar

Cutting through

A heap of electricity to

Engulf your ears,

With passionate protest

And powerful words

Matt himself

Calls in listeners

To scream

in a chorus

Of pride,

To their heart’s content

As the main part of the song

Comes crashing into

The foreground

Angsty, rebellious, powerful. A nod to the original rebels with its rocky sound, the fast paced charge of pop punk rhythms drives the listener’s passion until you can’t help but sing along.

Each power chord roars like a fire, emblazoned with gritty electrical fuzz to burn your ears in the best way. Arguably the best section of this collage of crashing rhythm, the chorus is a straightforward clean-cut onslaught urging you to “Raise your glass to the ones that paved the way”. It unashamedly demands your attention – it’s yelling at you and you can’t ignore so you yell along to.

High pitched vocals string themselves around an angsty shrill guitar, prepared to thrill with its sharp cutthroat melody. I’m instantly reminded of early All time low and they’re playfully light musicality that just enhances the juxtaposed powerfully deep lyricism.

With streaming light to the shrouded electrical hum of a chorus, the intro immediately sets the celebratory tone of the track. Gleefully shouting:

L

G

B

T

Q

I

The letters of our community

spelled out

By a glorious burst from

Backing vocals,

In the stripped down

Chordal backdrop

Of the intro.

Matt wills the listener on

With a playful riff

From the suddenly melodic

Second guitar

Which powers you through

Into the verse.

My only criticism is the vocals in this section. Compared to the smooth higher pitched calling in the chorus, the verse’s whispery EQ riddled vocal falls flat. If only there was a guitar amp filter, or drench of distortion married to his voice, perhaps then the spiky guitars would be matched. Otherwise, the production talents of Matt are well on display. Deservedly so, the track is smothered in pristine clarity (which is tough to pull off in this genre). Each little guitar melody or drum beat has its own spotlight – there’s no muddy mesh of music here.

And just as I’d wrapped my head around the catchy head-nodding chorus and intro, a middle eight decides to crop up out of the blue. It’s empowering. There’s the perfect marrying of politically charged lyricism and head-bobbing melody.

The chordal sequence of choppy muted power chords and fuzzy distortion is predictable for the genre. And yet in this instance I still think it sounds fresh.

Could there have been more dynamic chords choices? Sure. But this style of music doesn’t need that much embellishment. It’s about the lyrics here. That’s the main part. It doesn’t really need anything distracting from that. So yes, I’m disappointed by the lack of challenging musical components, but not all music can be writhing with technical prowess. If every song did that, it would sound horrific. What the track loses in musical structure, it makes up for in tone, message and its delivery.

Who would have thought such a political track could be so entertaining?

OPINION: I have a phobia by Ray A-J 

Posted on by Ray A-J

What is a phobia? What defines it? What separates it from a fear?

Fear has me trapped,
Like a bird in a cage;
It wasn’t his fault,
But it grows with age.
Green vines,
Twisted and skewed,
Pull at my skin.
Feathers left, few.
Until my beak,
Bent and broken,
Falls off.
Amidst a sea,
Raging ocean of blue.
It had me
Consumed,
Soul raptured,
With the splinters of before,
Thirteen years old.
The shrapnel,
Married to my Core.
And it is now,
That I can stand,
Finally,
Having taught myself
To forget,
Leave feathers behind.
I am not a bird,
No longer am I caged;
But I am a survivor,
Released unscathed.
In burning hope,
I learnt.
I don’t mourn my wings,
For a phoenix has to lose a few
before it can begin
Again.
Okay, so I have a phobia. I’m not the only person either. Around 6-8% of people in the West suffer from the excruciatingly debilitating hold of a phobia. Previously we established the unrelenting pain and suffocating effect an intense fear can have on its victim, and I think it’s only fair that the severity of the barbed wire phobia that wraps itself around your life and digs into you at every moment should be explored.
So, the first stop on our map of such intense fears: identifying your phobia.
The turning point for me was realising what this exaggerated and often embarrassing response to something as normal as someone’s face was. As long as I could remember I was unable to look at anything resembling the Harry Potter character Peter Petigrew, and I knew this was weird; I had been taught by the mockery I received that this wasn’t normal.
But if no one else could understand the response the way I did, what exactly was going through my head to make me the weird one?
I was taxed with questions as to why the fear never left me as I grew up, and what would happen when I’m an adult and still break down in a fit of frenzy if I happen to pass another person with rat-like features. I can’t remember exactly, I think I actually started googling phrases like ‘random panic attacks’ or ‘fear for more than a year’ in a desperate attempt to understand this thing better. I wanted to be able to talk it through with someone, or get it straight in my head at least.
It was like being lost in a foreign country, surrounded by people who don’t speak like you, and scrambling through a phrase book for a way to communicate with anyone. So I searched the terms. Pages and pages of irrelevant lacklustre information later, I found a key phrase – light for the dark path; “A phobia is an overwhelming and debilitating fear of an object, place, situation, feeling or animal. Phobias are more pronounced than fears. They develop when a person has an exaggerated or unrealistic sense of danger about a situation or object”. 
That was it. That’s exactly what I felt. Finally the tangled mess of panic attacks and uncontrollable crying was put into a clear stream of words. So I clicked the link.
Luckily I had happened upon an NHS page entitled ‘Phobia’ – relief. If it was on the NHS, it must be real. Reading through the symptoms and recipe for my condition, I realised that the thing I was experiencing was a phobia, a clinically diagnosed proper medical thing. So I wasn’t crazy. I wasn’t being an over sensitive crybaby. Honestly if you’re reading this, regardless of whether you suffer from a phobia or not, read that page. It helps.
Finally I wasn’t weird, I was just unfortunate to be inflicted with such an under the radar condition. It’s an anxiety disorder – real.
Of course I was desperate to find a cure, a way out, so I clicked straight onto the treatment section of the page. Ah, ‘Medication’ and ‘Professional Help’, maybe not. I’d recommend these to any adult struck with a debilitating fear like flying or people, but for me, aged nine, with my fear in particular, they weren’t options. So I was left on my own to figure out what to do.
To save you the confusion and time to get over your phobia, I’d say that step one is naming your demon. What is your particular phobia called?
I still don’t have the exact name for my condition. It’s probably something to do with anamorphia. But knowing it was similar to other fears (like musophobia, the fear of mice and rats), was enough for me to begin to tackle it. So step one: name your phobia. Try googling your symptoms and triggers, or seeing a psychologist.
Recently, I looked up my phobia again. After a lot of research and desperation to properly name it (vainly), I found there was so much more to them then first thought. As it turns out, as well as the name (like arachnophobia for fear of spiders), phobias can be broken into two main types: complex and specific. The latter picks its victim when they are young and is easy to overcome, whereas complex phobias set in during adulthood and are much more crippling – think agoraphobia (fear of people or venturing out of your home) and social phobias.
In the next issue, I’ll cover this in more depth, so don’t worry. But if you’re reading this and you do suffer from a phobia (big or small), please feel free to send your opinions or stories on it and perhaps it may help both me and anyone else understand them better.
Also, if you feel like sending in any artwork or poetry or anything about your phobia or experience with the topic, go for it. I’d love to include more than just my own experiences.

PREVIEW: Out and proud: a call to arms – African activist releases debut dance track

Posted on by Ray A-J

LGBTQ + activist and newcomer to the dance scene, Hunter releases debut single.

Hunter
Hunter

The Tanzanian born artist released his Gay anthem So Gay, at the end of November, via YouTube.

Born to Muslim Indian parents in a country where it is illegal to be Gay, Hunter is breaking through the restrictions of the society he knew through his direct track.

The headline single of his upcoming E.P (of the same name) is a celebration of sexuality, and aims to encourage others to be out and proud, and find freedom within themselves.

Produced by Niraj Chag in London, the track is a culmination of genres and influence from around the world. In doing so Hunter hopes to link audiences from across the globe to listen to the issues discussed in his music.

With a B A (hons) in Fashion and Textiles, the artist and activist insures his work transcends music, looping art and dance into his creations. Through its use of military themed footage and lyrics, the video for So Gay encapsulates the fear and often violent response to homosexuality felt in countries where it is outlawed.

Currently the anthem is available through YouTube, and is yet to be released on streaming services.

REVIEW: Walking in the air? More like dancing

Posted on by Ray A-J

Explore the snowy scene of a Christmas classic reimagined, through the voice of Velma Celli.

Chord. Then twinklingly melancholy piano notes. The intro to a, dare I say it, Twilight film complete with sweeping camera shots of a desolate snowy landscape rushes into your conscious.

Thin vocals swifty float into the scene, upon a trotting horse of alternating piano notes. They leave warm footprints in their heavily reverbed sustain, as if each note echoed the clip clop of a horse charging.

With the eerie smoke of a scene set, Queen of drag Velma Celli conducts an orchestra of synthetic strings and drum machine, sewn into a less than festive dance track take on a Christmas classic.

I must admit, contrary to popular opinion, the original cult classic we’re walking in the air is a tad tedious with its continuous unrelentingly droning replay each year. On first listen it’s delightfully airy and light, but with each regurgitated spew the track is weighed down with the same sickening rehash of sad yet festive tracks. And historically, covers or attempts at reinventing renditions are all too often similar from their origins.

But with all that said, Celli actually avoids the blueprint of a Christmas cover track, with more of a trippy dance approach to the song. She changed up an old worn out woollen jumper, for a silky dance gown, and to be honest this version could potentially fit all year round.

With faintly tortured vocals, that carry just a hint of remembrance rather than drowning in hyperbolic overdone vocalisations, Celli wistfully entwines the tear-jerking passion of the original with a glitzy glamour laced sparkle fit for a modern twist.

The whole track is a teen romance movie. You know the one I mean- the sort where the vampire couple, that couldn’t stand each other earlier, are dancing reluctantly, which somehow slowly ignites the passion and lust for one another they’ve been harbouring all along.

There’s a slow build up, mirroring the tension between the star-crossed lead characters. Followed by yet another layer of build up, teeming with sympathetic synth strings and orchestral drums, the track climbs a ladder of energy until it reaches a barless tier. This break in the pattern takes the form of a twisting instrumental, reminiscent of a battle scene in a Disney movie. Bombarded with barrages of booming timpani drums and eerie strikes of high pitched whistles, the section transforms itself into an anxious charge of soldiers across a frosty field.

With all its glorious power and transformation of a worn out track, the piece is still missing shade. It’s bathing in light and loud calls smothered in legato and melisma, but is missing the contrast entirely. Instead it just switches genre.

Each time the track builds in volume and riddles itself in anticipation, you expect there to be a crashing climatic point. But instead the piece just loses itself in a new genre. Like the build up to a bass drop minus the climatic crescendo, the song constantly charges itself with energy throughout but with no release; it needs an ending focal point. Although there is a slight hint of one nearing the end of the track, with the grasp for a powerful a capella end, but doesn’t deliver soon or strong enough.

Overall the song is a welcome change in Christmas pace, but still requires some variety in volume and dynamics to really hammer home the power the track encapsulates.

By Ray A-J

INTERVIEW: Ricky Rebel – “I’m being very open about my sexual fantasies”

Posted on by Ray A-J

All American glossy glam rocker and rebel with a cause, Ricky Rebel, bares all in conversation with Ray A-J,  tackling Trump, gender politics, and bisexuality, all while donning white cowboy boots.

He glided onto the pop scene in the mid-90s upon the four-wheeled bike of boyband No Authority, and now he’s finally ready to tell his tale of girls, glitter and glory.

In an insightful interview with the defiantly fabulous pop star, we delved right into the heart of LGBT+ artists in the industry, and what it means to be a man in 2017.

From boyband sensation to Glam rock star, Ricky Rebel is a dynamic and diverse singer and has performed alongside the likes of Britney Spears and My Chemical Romance.

He first joined the industry as part of teen pop crew No Authority, signed by Michael Jackson’s label, and has since shot straight to the top 30 in the billboard dance club charts as an out and proud bisexual artist.

So without further ado lets meet the man behind the makeup:

Your moniker is really interesting and eye-catching. What lead you to choose the name “Rebel”? 

I wanted to choose a name that encompassed my personality. I have always been a Rebel. Growing up, I used to ask many questions in school, not trusting authority. I drove my teachers crazy.

You have been described as a Glam rock artist, is art and fashion important to your musical career?

Absolutely. A lot of what I do is informed by my love for fashion. I even wrote a song on The New Alpha called Life Is A Runway with one of Rupaul’s Drag Race alumni, Vivacious. When I wear certain clothing it possesses a type of magic that transforms me into something larger than life.

In three words, how would you describe your image?

Bold, beautiful, and sexual.

How would you describe your new songs?

My new songs are sexual, fun, and thought-provoking. I like to make people think with my music. ‘The New Alpha’ challenges people’s idea of what it means to be a man. Real men can can feel absolutely comfortable wearing woman’s clothing because clothes and makeup have no gender.

Any influences behind your new album?

I think Prince’s early work influenced this record. He was very sexual. I wanted to bring that back. ‘Magic Carpet’ is one of my favourite tracks because I am being very open about my sexual fantasies. Not very many male artists have the courage to be honest and open about that.

The 2016 election has a lot to do with this record. I don’t think any artist can cut a record these days without getting a little political.

“The industry tried to stuff me in the closet”…….

What is the story behind ‘time’? What was the story behind the music video?

I have always had this fascination with ‘Time’ and how we are all on a finite time-table. We never really know when we are going to die. It’s fascinating. It’s terrifying. I think we are all running away from death in one way or another. The role I play in ‘Time’ is me in the future. I have everything that I ever dreamed of, money, fame, etc. but I do not have that person that I love with all of my heart so in the end it is lonely and empty. Fame and money are something that I strive for but I have to remind myself every day to appreciate my health and the people who I love that are still alive.

If you don’t mind me asking, what was it like in the industry when you came out?

The industry tried to stuff me in the closet. In the 90’s it was not cool to be gay at all. Agents, managers, lawyers and the record company that I was signed to Michael Jackson’s label gave us straight acting media training so that we did not appear gay in interviews. I was terrified of telling my fans or being ‘found out’. It was also ten times harder for me because I also like women.

Was it difficult after the split of the band? Would you still perform with them now?

The split was hard because it was tough starting over again on my own. I had to learn how to produce, play the guitar, and handle all of the things that the label handled for us. I talk to them every now and then. I’d release a track or two with them but it’d have to be with the right producer. I’d also be in charge of getting them into tip shape. Cardio baby!!

“I have always been a Rebel”…….

So far, what has been your favourite performance?

When I opened for My Chemical Romance and opened the show as the character ‘Showpony’.

Gerard Way the lead singer of My Chemical Romance cast me as ‘Showpony’ and I starred in a couple of their videos. The fans knew Ricky rebel was ‘Showpony’. They went absolutely insane when the spotlight turned on. I get chills just thinking about it. I felt like Michael Jackson.

I remember touring with Britney Spears. Those were the best. We had the number 2 most added record in the country ‘Can I Get Your Number’ and we were touring with someone I admired. I still love Britney to this day.

“The industry is still homophobic”

Any crazy stories whilst touring?

I remember after a show that we did in London, the girls starting rushing after us. We needed security to hold them back in order to get into our tour bus. Once inside we couldn’t move because we were surrounded. They started banging the tour bus pushing it back and forth begging us to come out. It was scary and awesome at the same time. There was also the time I woke up with a girl in my bed who had hid herself in the closet. Totally freaked me out.

With the recent election of Donald Trump and Brexit, the social climate is seemingly more difficult to navigate. What are your feelings on this new age of strictly enforced political correctness and the election of Trump?

I do not like political correctness. The PC police use being offended as a means of shutting down opposing views. My last name is Rebel not Conformity. It’s become a nightmare because people can not respect other people who have differing views. Trump and Brexit were voted upon by the people and democratically elected. Until people grow up and stop taking things so personally, I am not going to talk about it in-depth.

Is it difficult living in America with the recent election of Trump?

I’m proud to be an American. America is doing very well you wouldn’t know it by the mainstream media. It can be difficult at times if you’re like me and refuse to follow the crowd. I am not a sheep.

Your previous hit Boys and sometimes Girls was incredibly popular. What lead you to create that song, and why do you think it was so well received?

It was a hit because I was just speaking through my experience bluntly and candidly. Sexually, I go both ways and I think a lot of people can relate at some level. I had a really good time writing and singing ‘Boys & Sometimes Girls’ in the studio. It’s a great song to workout to. I’m proud of the fact that It hit number 28 on the Billboard Dance Club Charts.

Could you tell me about The Blue Album and the backdrop of its creation?

‘The Blue Album’ was written before, during, and after a difficult breakup. I documented it all in my music. The Blue Album sounds like a happy record but that’s because I was laughing to keep from crying. “The New Alpha” sounds more like an angry confrontational record at times but it comes from a giddy, naughty, and rebellious place.

“My last name is Rebel not Conformity”…….

What does the industry need or is there anything missing from modern music now, given the current social climate?

Political Correctness has killed artists. A lot of them are playing it so safe. Many mainstream artists are afraid to be real, afraid of upsetting people, afraid to do something different from what is accepted of them, and afraid of losing their fans. Another big problem for artists like me is that the industry is still homophobic. Certain parts of the world still do not accept and embrace gay people.

Currently how important is solidarity amongst the LGBTQ+ community, with increasing Gay marriage rights but lack of support for transgender rights?

LGBT+ rights are human rights in my mind. We need to fight for our rights while at the same time not be solely defined by these labels. Some people’s whole identity is wrapped around being gay, their gender, being trans, or whatever the particular label is. Being LGBT+ is not who you are, it’s a part of your identity.

Where’s your next gig and how are you feeling about it?

I am performing December 17 at The 27 Club, December 18 at Mau Mau, December 19 The Hope And Anchor. It’ll be my first UK Tour as a solo artist!

And a bit of an odd question, but to sum up, what’s your favourite biscuit?

I’m going to be looking forward to trying my first biscuit while in the U.K. on ‘The New Alpha’ tour. I have a feeling that peanut butter biscuits will be my favourite.

Nutty and rich just like Ricky!

Be sure to catch Ricky on his first UK tour: The New Alpha.

 

MUSIC REVIEW: Steven Taetz – too cool for your yule?

Posted on by Ray A-J

A look at Canadian Jazz-pop singer Steven Taetz’s newest work, just in time for Christmas.

It may not be Christmas yet, but when I sat down to listen to Canadian Jazz-pop singer Steven Taetz’s new Christmas E.P it certainly felt like it. Straight away an uptempo rendition of the old favourite Cool Yule pulled me into a bright jazz room, complete with lindy hoppers and bombastic dancers. You can almost see the cabaret singers creep onto the stage, as the grand opening of the track (complete with decorative trumpets and jingle bells) strikes your ears. Juxtaposing this strong, powerful push of instruments is the cool crisp voice of Steven Taetz. He’s got the pipes of a pop singer, not typically a Jazz voice but nonetheless a very light and soft feather on an otherwise sharp pile of sounds. His playfully smooth voice is a far cry from the original deep hum of Louis Armstrong, as he advises to “have a yule that’s cool”, breathing new air into the Jazz standard.

Bubbling in my ears, the boiling energy of the track overspills into an instrumental conducted by the saxophone and trumpet. Both are talking to each other, engaging in melodic conversation with the piano that follows. It’s like a whole Jazz gig was raving on in my ears. Forget cocoa at Christmas, bring me a martini.

Just as you get lost in the rhythmic jungle of Jazz Orchestra, a lower rumble of silky velvet slips into your ears – It’s to die for. The voice belongs to Taetz’s co-star, Joanna Majoko and fits marvelously alongside his soft tenor. Picture a fluffy vanilla cake, complete with light frosting that once you bite into, it reveals a subtle layer of red velvet cream filling and you have Cool Yule the moment Majoko sings. Her deeper wispy tone makes for the perfect addition to this song. Oddly enough, Majoko’s interpretation of Taetz’s own lyrics – yes he even added his own to an otherwise played out song, is the best part. Her command over the words and raspy voice resemble the raspberry filled truffle you may find in box of bland milk chocolate duds. The higher notes, she reaches with ease, supplying chills and hairs on end. Oh – and she scats. Yes, scats. I suppose you’d have to hear it for yourself, but that is probably the sweetest version of scat I’ve heard. And then, just as you think the song is done, Taetz joins back in reintroducing the previously predictable outro with a beautiful harmony alongside Majoko. As you may be able to tell, that track is by far my favourite. It’s the perfect pilot episode set up for the rest of the E.P.

After my excitement at the welcoming title track, I was pretty jazzed to hear what would be next. But what came knocking on the door of the E.P? Disappointment.

Given his excellent crafting of the second chorus’ lyrics in Cool Yule, I was anticipating the same level of brilliance in his own song Lovers in the snow. However, the heartbroken ballad fell short with predictable rhymes and piano melodies (“Hear my voice soft and low” following “Follow me as I go” is just one example of many cliché rhymes present). It’s quite ironic actually, as Taetz’s higher delicate voice sings “Hear my voice soft and low” beautifully but most definitely not low.

I’m sorry to say I was bored by the time the second verse came around – although I am a sucker for a piano. Perhaps that’s just my taste, but most Christmas ballads seem the same, and this one was no exception. The song falls into the inescapable cliche Jazz ballards all wear. Don’t get me wrong, I’m a fan of Jazz just not Jazz ballards and that’s where he’s lost me. Perhaps I’m bias but I can think of at least two songs similar to Lovers in the snow. The chordal accompaniment was uplifting at times, with the section just before the end of the song baring hope, but still it fell into the four chord cliché of popular music. Come to think of it, the whole piano part wasn’t too dissimilar from Lily Allen’s rendition of Somewhere only we know – especially that section in particular.

One thing the song did do well (and don’t get me wrong, it’s not a bad song per say, just a recycled one) was to put an image in my head as I listened. Hearing the alternating piano notes painted a picturesque scene of snow falling. Melancholic nostalgia carried in his voice drew the sketch of someone looking out of the window at the snowy road outside, as two people are ice-dancing. It would have been a pretty undertone to a sad scene in a Christmas film.

So not to rain on the parade of Cool Yule, but the second song in the quadrilogy fell just a little flat (unlike Taetz’s voice which was as ever well controlled and pretty). And maybe that’s just down to my dislike of ballads, but I wasn’t to thrilled with this track in particular.

Throughout the E.P, it was clear that the songs were all well produced and pleasingly professional; I can appreciate the technical prowess of each song but they don’t extraordinarily pull at my emotional heart-strings.

I did like Come Christmas however – another original song by Taetz. Melodies are reminiscent of very old Jazz, with chirpy Hawaiian sounding guitars and upbeat rhythms. Weirdly the song sounds warmer than Christmas, with its blazing fireplace of rich chordal backdrop and faux furr rug of melody from the trumpet and trombone, lining the warm floor of the track. It’s in this cosy log cabin winter scene that Taetz’s voice really does shine through.

Within the very first few seconds of the song, perspective is flipped to those of us that have endured the same arduous cracking of a relationship at Christmas: “Remember that December. A year since we have kissed” – wow, thanks for pulling that unwanted flashback Steven.

Slowly the sparkling snow drops of melodies carried by his pristine vocal, float into the verse. This time around, the lyrics are rather well crafted, like a vase of glass every word seems to have great time spent on their manipulation until they’re glossy and strong. Without deliberation the best line of the crystal lyrics: “When the halls are decked, the tree is trimmed, and after me you’ve pined, Come Christmas, you’ll see how much you miss me” just hammers home the kick in the teeth to a previous paramour left behind. The whole song is a relieved exclamation of “I don’t need you – providing a bitter twist to the tale of Lovers in the snow. I suppose it’s the Jazz-pop equivalent of any bitter-sweet, soul building, lovesick crushing power ballad – Kelly Clarkson springs to mind.

As the verse tag-teams the chorus to join in, I’m inescapably pulled into the Elvis film Blue Hawaii, with the marrying of chirpy Ukulele imitating guitar and emotionally fuelled vocals. A flamenco – esque Spanish quality becomes a well fitted costume for the six stringed instrument, as melody blends seamlessly with staccato chords. The chorus itself transforms the backdrop of Blue Hawaii drastically to that of a dimly lit speak easy, complete with smoky air and small Jazz band playing from a tight corner of the room.

I suppose you could say this E.P has become its own film, in the way it grasps at your nostalgia of Christmas and quickly leads you into a new scene every time a song changes. And that power and mysterious ability to be able to push an image into your mind, with sound alone, is incredible. So for all the faults of Lovers in the snow, by now the album has redeemed itself.

“What are you doing new year’s eve?” asks Taetz to his off camera subject as the last song’s chorus glides through the speak easy from before. Learning to play piano like Ewen Farncombe, that’s what. The sustain on each chord is absolutely gorgeous. It’s as though the notes in each chord refuse to leave and are pulling at every last second they can keep their camp in your ears. There’s a little trill just after the first “maybe I’m crazy” and it’s a jewel. Seriously, listen to that little gem, it’s so pretty.

With each listen I vainly attempted to pinpoint and dissect the parts of excellence in the song, but couldn’t. It’s like trying to explain the beauty you find in a painting hung in a gallery – you can’t, you just can’t pick out a single section worthy of gratitude because it’s the impact of the whole piece that gets you. For the life of me I couldn’t focus too long on distinguishing verse from chorus, because the song itself with all its beautiful melodies and delicate vocals was like a sea of music running through my ears. It relaxes you.

I can say however, much like a vague description of your liking for the colours in a painting, Taetz’s voice held its poise throughout. If Michael Buble had a slightly younger tenor brother, it would be Steven Taetz. The second time he asks “what are doing” his words become velvet: soft and breaking. The strength and control he carries is at times mesmerising.

As the trumpet saunters onto the stage, with its sweet singing of sadness that mirrors Taetz’s, it propels a state of swaying and enjoyment of the track. The engagingly short solo walks you through the era of Jazz in a dark dim room full of bombastic performers.

By the time the song reaches its final farewell, I’m left feeling robbed of time that could have been added to the song. At an unusual four minutes and twenty-four seconds, the song is longer than most pop tracks’ humble three minutes, yet not long enough. I feel like I could have listened to another verse or two; I didn’t want the lull of melodies and solemn symphony to end.

In an attempt to dissect it: Instrumentally the track is flawless; his vocals are liquid crystal, and overall the song flips from a seat in a speak easy (with its relaxed carefree instrumental backdrop) to a scene of heartbreak and hope in a typical rom-com film. This song just makes me impossibly nostalgic for a time I never knew, which is a pretty powerful attribute for music.

Overall the E.P felt luke warm. I enjoyed the fast, jolly Cool Yule, but what followed was as if you’ve made a tea and left it to go slightly cold; it still tastes good but not as warm and nourishing as it could have been. Funnily enough, throughout Lovers in the snow I found myself singing along to the charming track, but out of anticipation of the next line. Essentially I was guessing the next predictable word or lyric – which I understand, in such a restrictive and overdone topic as Christmas, it’s hard not to do. However there were warmer patches with the likes of What are you doing New Year’s Eve and Cool Yule bringing about fits of nostalgia.

Credit to Taetz – he has produced pristine classy pieces, but to carry on the tea metaphor, it just wasn’t quite my cup. Personally I wouldn’t listen to the E.P religiously, (apart from Cool Yule which I will more than definitely play each Christmas, and maybe even What are you doing New Year’s Eve) but I do recommend it for anyone that adores good old-fashioned Jazz ballards.

I will however, certainly be listening to more of Joanna Majoko after this. And despite my indifference, I would definitely listen to some of Taetz’s other music because, after all, he is still a commendably good singer.

 

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