Tuesday, 26 July 2016
From Zara Larsson to Tove Lo, there's been a lot of noise coming out of Scandinavia recently - hardly surprisingly considering the regions illustrious pop history. There's a certain deft touch that comes from swedish production, and new girl on the block Kiara Nelson is no exception. Just 16 years of age, Kiara is working with all the right people and navigating social media like a pro - but what else would you expect when this rising generation of popstars are total natives to all things digital. Her debut single 'Cool My Rush' is set to blow up this summer, so we had a quick chat over email with the lady herself...
Imagine that your music was a person – how would you describe it?
If my music were a person I would describe her as a kind of short girl with some cute tattoos ( not too many) A feminine,social and loud girl.
How did you get into music – how old were you when you started singing and how did you know that you wanted to make it your career?
I always knew. My family says that I started singing before I started talking. I used my voice everywhere we went as a kid.
What was the song/record that made you want to be a musician? Are there any particular artists that inspire your work?
When I was really young Britney Spears inspired me a lot. My biggest inspirations are Rihanna & Ariana Grande.
You worked on ‘Cool My Rush’ with legendary producer Milos Rosas – how did you decide that he was the right producer for you? And how is the new material you are working on coming together?
I saw an article on Milos Rosas and listened to some music he had made and got interested. I sent him some covers of me singing and then from there we started working. We work well together. What we are working on now is a secret, but something good is coming up soon!
I love how down to earth you are on Instagram – do you think social media is a good thing for the music industry? Do you feel under pressure to maintain a certain aesthetic?
Thank you!! Makes me happy to hear. I think social media is great for the music industry. It lets people see and learn more about you than just hearing your voice. I love instagram and I'm usually just myself on it, I'm not trying to make a fake image of me.
I also love your style – where are your favourite places to shop and your style icons?
Thanks! I love to shop at H&M, Topshop, Bik Bok etc. I also do a lot of second hand & online shopping. I don't really have any style icons but I love Kylie Jenner's style.
When can people expect new music from you?
You can expect new music from me by the end of the summer!
Tuesday, 24 May 2016
"No getting it right, no getting it wrong...just getting it on"
It can be pretty hard to improve on perfection. Universally celebrated for their fantastical approach to everyday intimacy, Wild Beasts are a favourite band around these parts for good reason - sometimes pretentious but always provocative, they simply see things on a deeper level than most. With 'Smother', they created our favourite record of all time - a capsule of what it means to lose yourselves to the ruins of romance.
With this morning's announcement of their upcoming neon-daubed fifth record 'Boy King', they cement their return with a renewed aggression. The album tracklisting reads like a dream - excuse us while we stitch 'Alpha Female' onto the backs of our grubby denim jackets, and speculate on what level of grandeur a song named 'Eat Your Heart Out Adonis' might sit. But let's for now focus on it's lead single - the sleazy, satisfying and ultimately surprising 'Get My Bang.'
Everything that makes Wild Beasts so wonderful is here in abundance - rapid wordplay, dual frontmanship and lyrical memoirs of the modern lothario. Layer on basslines encrusted with grotty funk, snaggle-toothed guitarwork and a darkly joyous video, and you have something new - something crafted to perch suggestively atop a Radio 1 playlisters knee and whisper in it's ear the way none of their previous material could. Wild Beasts have spoken at length in interviews about their intent to let each album to occupy a completely different world to the one prior, and this definitely ticks that box - it would have seemed incredulous a few years ago to imagine them dropping this sort of groove driven party-starter as a follow-up to 'Smother, but next to 'Present Tense' it makes sense, pushing their experimentations with electronics that little bit further.
There's something very malicious about 'Get My Bang'. From it's (lewd, rude and) crude title to it's seemingly knowing pastiche of RnB music videos, it hints at an altogether less subtle approach going forward. In parts, it reminds me of the progression that their labelmates Arctic Monkeys made with 'AM' - letting the 90s hip-hop influence inform the music in a much more obvious manner, putting an emphasis on the 'call and response' chorus structure that's so synonymous with west coast rap. Coming from a gang of working class white boys from Kendall, it's a thrilling juxtaposition.
There's something deeper than just a quick fumble in the dark though. Not just a statement of seedy intent, the very phrase 'get my bang' creates the image of a gunshot, a parable for how the surrender of lust will ultimately be the demise of red-blooded man. It's daubed on the walls of the house in the backdrop of the video; 'death to all betrayed'. Twisting itself from 'get my bang' to 'bang gets me' as the chorus subverts, it's a familiar Wild Beasts narrative - testosterone wrestling with the fear of something much more fallable... 'we live in alter egos'.
I can't wait to see how this fits in the context of a record - whether they will dismiss their softness entirely in favour of a more instantly accessible sound, or whether this is just another facet of their eternal quest to depict every angle of masculinity. Considering their previous output, I would expect the latter but forgive them either - Wild Beasts are a band who keep you safe in their arms.
Wednesday, 4 May 2016
Ten years in and the humble Live At Leeds festival has grown in both size and stature. Where once before it was just a place for all the hipsters of West Yorkshire to gather, it's swelling line-up of 200+ bands for a relatively low pricetag of £32 makes it a genuine attraction for new-music hungry noisenicks right across the country to come and experience things oop north.
As Leeds dwellers ourselves, it's clear that as the years have passed, Live At Leeds has really grown into itself, taking true advantage of just how eclectic it's city's landscape has begun. The streets feel busy but not claustrophobic like years previously - the influx of new bars, venues and cool hangouts like Headrow House and Belgrave Music Hall since we last reviewed the festival in 2013 has meant that Leeds city centre is more equipped than ever to deal with the increase in foot traffic. Let's not forget the huge presence of the First Direct Arena either, keeping all the press action in one contained space leaving music fans to room free about the city.
(Photos courtesy of Andrew Benge)
And roam they do. 45 minutes before Leeds o2 Academy even opens for the day, the queue stretches long enough that it reaches the tip of the next venue. The reason is Mystery Jets - comeback kids who's latest album 'Curve of The Earth' has seen them move from colourful art-rockers into something with more promising longevity. A huge part of this is clearly the shot in the arm that their member mix up has created - new bassist Jack has the affability of a shaggy-haired kids TV presenter, doing most of the talking and flinging himself about the stage with an infectious enthusiasm. The album naturally forms the majority of the afternoon's set - they open with Telomere which proves just how robust a live offering they have become. Oldies 'Serotonin' and 'Flash A Hungry Smile', go down well, but it's 'Blood Red Balloon' that really fills the space, a spacey journey that computes pleasingly well with the 'three pints in' haze of the audience.
(Photos with thanks to Giles Smith)
Strong planning brings us handily close to Leeds Beckett Student Union, where we arrive in time to catch our old housemates band Forever Cult. Friendly nepotism aside, it's clear they've come on leaps and bounds since we last saw them - an increase in focus is evident as they tear through old and new tracks with barely a hitch. 'Winter's Glow' draws a succession of floppy-haired pogo-ers to lose their shit on the front row, as does newbie 'Seafood', wonderfully obnoxious with it's 'Not My Problem' refrain. A hometown offering, they emphasise LAL's potential as an A&R mans dream day out.
( Photo by Andy Smith)
Speaking of buzz bands, it doesn't get more hype than Spring King (Leeds University Union). Made famous overnight thanks to that Zane Lowe endorsement, they're pleasingly down-to-earth on stage - clad in oversized ADIDAS and thanking the crowd repeatedly with a genuine air of surprise at the turnout. Luckily, the music lives up to the legacy - they start strong with a quick 1-2 of 'Better Man' and upcoming album title track 'Tell Me If You Want To' that sees a crowd member crawl onstage before being swiftly booted off by security. The air is thick with youth - the moshpit has an average age of 17 and is an overwhelmingly jolly affair that is more hugs and free love than punky aggression. It's wholly befitting of Spring Kings appeal - a bunch of talented kids making young, exuberant pop rock.
(Photos by Jenessa Williams)
It's fair to say that no critique of Los Campesinos! is going to be particularly bias-free around these parts, but it's equally fair to say that their co-headlining set at Leeds University Union is a triumph. While Gareth may joke about people wandering in to see them just to kill time before Circa Waves, they win over casual and placate fans alike with a high-energy set that covers the majority of their career. 'Avocado Baby', 'My Year In Lists' and 'What Death Leaves Behind' all sound particularly strong, but it's the 'Tory Boy' line in closer 'The Sea Is A Good Place To Think Of The Future' that really hits home in this northern venue.
(Photo by Jenessa Williams)
Maybe it's the copious red stripes, or the sweat in the late-night air, but our long-forgotten crush on We Are Scientists Keith Murray comes flooding back like the stuff of #indieamnesty dreams as soon as they begin the closing show of the night. Potential objectification aside, there is no avoiding the fact that even after sixteen years in the business, he has barely aged a day. Luckily, neither have the hits - 'Chick Lit', 'The Great Escape' and 'It's A Hit' (literally) are delivered with the razor-sharp precision that only playing the same songs a billion times can make. Tracks from their week-old record Helter Seltzer do drag a little at times, but their Flight-Of-The-Conchords-worthy stand up keeps the momentum flowing, as does a particular touching rendition of 'After Hours' that gets the couple standing behind us snogging like the world could end at any moment. A fitting end to a glorious day, we're already looking forward to seeing what Live At Leeds comes up with in it's next decade.