#KATE BUSH HAS DONE IT AGAIN FOLKS

[katherinewilliams221b]

Our Time To Bloom

Chapter 7: The Serch Bythol

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Summary: Two months after the war, the couple is more distant than ever. Kate  accompanies her grandfather on a trip to Ireland, where her past and  present will collide in unexpected ways. Charlie stays in Romania with a decision to make: will he follow her and uncover all unsaid things? Romance/Drama /Mystery

Rating: Mature

Pairing: Charlie Weasley/Kate Williams (hphm mc, original female character) established relationship

7th, July, 1998

Hours later, after dropping off Kate at the station, Charlie perched himself against a wooden fence at the dragon sanctuary. Lost in thought, he observed as Soule, an older Romanian Longhorn, stretched its wings in the air. The dragon flew in circles, pirouetting through the clouds with the bravest birds joining in its dance.

What a coward you have been, mate, not to join in. And what a fool! You wanted to go! You still do... Bernard has both great humour and profound wisdom, maybe he was the right person to talk to. If you want to talk... Simply trying to pronounce Fred’s name out loud makes your throat close up.

Soule walked past the Sun creating his silhouette in the wind for an instant.

A twinge in his knee made him hiss, and suddenly the smell of smoke invaded his nostrils.

‘It’s normal in the sanctuary,’ he reminded himself, but he couldn’t help but find himself on Hogwarts’ ground, lying on the stones and feeling that same smell.

He clung tightly to the fence, unable to move. The image of the man appearing out of the fire, distorted, only his silhouette visible when lit from behind, slipped into his mind without permission. He had hit him in the knee, fortunately, but at that moment, helpless on the ground, he knew the stranger would not miss a second time.

He struggled to steady his breathing and with difficulty set his sights on the mountains in the distance. He imagined waterfalls and rivers, crystal-clear lakes and the reflection of clouds in their waters, paths overlooking the valley, patches of flowering bushes.

He managed to shake off the vision of his near-death by trying to imagine himself flying, soaring through the skies on a dragon. With the wind in his face and breathing clean air, seeing the world disappearing and getting smaller and smaller and smaller and smaller...

“You’re making my dragons nervous...”

A light tap on the shoulder accompanied the voice, which was just enough to make Charlie flinch and turn away from Sonia, bringing his hand to his hip unconsciously reaching for his wand.

“Sorry.” She said with sincerity in her eyes before leaning against the fence.

Charlie brought his hand to his hair, briefly massaging his head and undoing the small ponytail he wore. He leaned back against the wood next to his group leader.

They both stood in silence for a while, just watching the sky. Charlie’s heart started beating normally again, and he was able to take a deep breath. Still, he brought his hand to his opposite arm and started stroking his inner elbow with his thumb.

“Nervous?” Sonia asked without looking at him. “The lists go out the day after tomorrow.” She added at the look she saw out of the corner of her eye.

“A little.”

“The grant is yours, I have no doubt. And Razvan’s too. You are both very capable.” She said with a small smile.

“We’ll see if the folks at Apuseni feel the same way.”

“I’m sure they will.”

Absently, Charlie continued to make circles on his skin.

“Cool tat,” Sonia commented, looking at the pale skin on his arm. “I haven’t seen it on you before.”

“Oh...” He pulled his hand away to reveal the symbol he wore inked in black. “We only got it done last year...”

Sonia raised her eyebrows.

“Kate and I.”

“Damn. That’s bold. I don’t think I could get matching tattoos with a boyfriend. It’s usually contraindicated.” She laughed, coaxing a small smile from Charlie.

“Yeah, well, they’re not permanent. The guy who did it to us can take them off, too.” It dawned on Charlie that this was the first time anyone had noticed the symbol he was wearing, and that no one but Kate knew of its existence. Not even Razvan.

He moved a little closer to her, extending his left arm so she could see better, and began to follow the lines with his pinky.

“It is, in theory, a Celtic symbol made of two Trinity knots flipped to the side and fused together.” He traced the intricate lines from the horizontally pointing tips to the central circle. “The three points of the knots represent the soul: mind, body and spirit, as well as the circle of life. The two knots maintain their individuality, but when intertwined, they create a perfect circle, symbolising the endless unity between two souls.” He recited as he had been told. He focused on the dragons again, less solemn, remembering with a smile the tale they were told when that man was tattooing Kate.

“It’s really just one interpretation, there’s no factual information about it that we know,” he chuckled" but we loved that story so much we adopted it as our own."

When Sonia didn’t comment on it, he kept going,

“It’s called a Serch Bythol. In Celtic Welsh language, serk means Love, and beeth-ohl means everlasting.”

“I wouldn’t have imagined in a million years that you two were corny as hell!” They shared a laugh at her teasing. Charlie was grateful that she took the weight out of his words.

“Oh, come on, be easy on me, boss, I’m opening my heart for you here.” He said half-joking.

“Yeah, yeah, whatever.” They chuckled again, watching as Soule landed on a tree. “I don’t suppose you got it one night completely smashed in some dude’s basemen…”

“No! Of course not!” He laughed.

“Right…”

“No, we…” he tapped it again absent-mindedly, “it was purely for practical reasons, I assure you.”

He stared at the black ink, praying for it to stay black.

“When the other is in danger, it glows red.”

A look of understanding erased the smirk on Sonia’s eyes. She avoided his stare, focusing on the landscape ahead.

“I always wondered how you knew… That you had to leave Romania that day.”

It scared me so much, the way it burned, he thought. I didn’t know where she was until I received her letter. It didn’t have an envelope or a seal. I couldn’t even recognise her handwriting.

He nodded.

A moment of silence passed between them and left Charlie contemplating his future, his plans. Seeing Soule come down from the sky to take a nap by the rocks made him realise he wasn't meant for anything else. This was the life he hoped for in his teens, and the life he wanted to cultivate. If not dragons, what else? But did it need to be in Romania?

These mountains were his dream since he was a child and he was comfortable here, perhaps too much. He wondered if leaving this place, this group of people he could now call friends would feel like a betrayal. To them and himself.

But then he thought of her.

She had worked as hard as him to get into St Mungo’s hospital as a mere apprentice. And she left for him. To follow him here. She got far as a healer in Bucharest’s hospital. And she left for a cause she believed in. She had been offered a position as a herbology teacher once. And she declined for the same reason. 

Maybe it was time to return the favour.

Perhaps, after the Apuseni program, if he was chosen to go, it could be the last thing Romania could offer him and that dream he had as a child wasn’t the end of the line but the beginning.

Before the war, they hadn’t discussed much about their plans for a future away from this place, they both had secure positions, a home and they were content with that. He never dared to dream further from that.

Then the war happened, and they were forced to do things they never imagined they could be capable of. And that tranquil life they had shattered along with their possibilities.

Now that it was over, he thought, after everything that they went through, it was time for new dreams.

Kate was in the picture, he used to be sure of it. Now, he hoped.

“Sonia…”

“Hm?” She began putting on her fireproof gloves.

“May I get… some time off?”

The dragon tamer stared at him with an unreadable expression. She seemed to be registering his question as confusion appeared on her face.

“You shouldn’t. Not right before the program starts.”

“After that, it may be too late.” She kept silent and continued to secure her gear. “I think,” he insisted, “I could catch up later, I’m sure. I’m a fast learner. Two weeks tops.”

“Two weeks!”

“Sonia, please. I never take breaks, you know this. I never even quit when all of that happened,” he added, referring to the war. She sighed.

“I know. I just don’t want you to lose this opportunity.”

“I won’t.”

She thought for a moment and then clicked her tongue. “At least stay until the first day.”

“Of course!”

“Hey!”

Both dragonologists turned at the sound of Razvan’s voice, who flew towards them with a frown.

“Am I the only one who works around here or what? We’re supposed to start the scouting in three minutes!”

“Yes,” Sonia added with a nod towards Charlie, “let’s go.”

--

Muddy and sweaty, Charlie apparated in front of his house after an afternoon in the forest. He took off his boots before entering the cabin and made his way to the bathroom for a warm and much needed shower.

After cleaning himself, he stepped out of the bathtub in time to hear scratches on the other side of the door.

“Just wait a moment, Grimoire!”

Charlie imagined the condescending expression of Kate’s cat as it sat in their bedroom.

He opened the door with a towel around his hips just so the animal would stop the assault at the door.

“When Kate’s not here, you become an insufferable pain in the ass.” He accused, changing into a shirt and tracksuit bottoms. Grimoire mewled, clearly letting him know that the sentiment was mutual.

After satiating both appetites, Charlie left the cabin and, using a ladder, checked the rooftop for any sign of Whiskey.

He found the owl sound asleep in the small wooden house he had built for him. The redhead frowned and checked his watch. It was late.

While climbing down, he reminded himself that it meant nothing that Kate hadn’t sent a letter. She was probably having fun with her grandpa. Right?

“Yes. She arrived safe and sound.” He said to Grimoire as he entered again.

He made his way to the kitchen counters, hoping that the routine of putting a kettle on would calm his nerves. He instantly felt better as soon as the tea touched his lips, but the nervousness of what would he say to her and, most importantly, how would she react to seeing him there, remained.

Stopping the spiralling train of thought, he gasped.

Her birthday!

He used to be more thoughtful than that, he thought, but the stress of the war and going back to tons of work at the reserve had left him with no energy to think about presents.

The incorporation to the Apuseni program, if that ever happened, would leave him no time to search for something appropriate. He only had tomorrow to figure it out.

Against all odds and without warning, Grimoire jumped on the seat next to him and, tentatively, rested his head on Charlie’s thigh.

“I know,” he sighed, scratching behind the cat’s ear, “I miss her too. You’ll be fine here on your own? I guess you must. Razvan will come, you know him, to check on you.”

He paused, sipping his tea.

“I don’t even know where to start with her…”

He would get to… Cobh? But where exactly? And even if he found her, how would he manage to put in order the things he should say?

Eyeing the coffee table, he saw some random papers scattered around. With a flick of the wrist, a quill and inkwell floated towards him as he set the cup down. With a determined breath, he started writing.

My dearest,

I don’t know if I will have the courage to show you this letter. Maybe I’ll burn it after I’m finished, maybe I will hide it until I’m ready, or maybe I will be able to speak my mind to your face. You deserve as much, and so much more.

My heart stings every time I come home at night. I watch the lights on the tower where you hide from me and I feel as a failure for not being able to reach you. You’ve closed your mind, only to me? Do I hurt you so that you’ve kept your thoughts to yourself?

I talk to Razvan sometimes, about you and I, about what happened, about Fred if my voice doesn’t betray me. He listens, he tries, and I’m grateful to have found a little solace in his friendship, but he is not the person I burn to reconnect with again.

I miss my best friend, my companion.

Is it because I remind you of your own brother, Jacob, that you can’t find it in your heart to speak to me?

I hear you cry some nights. I know about your nightmares. Often I hold you, selfishly hoping you will wake and hug me back. I don’t know what haunts your dreams, I can imagine, but it feels strange in my stomach that you can’t trust me how you used to.

I guess I’ve been guilty of that too, but for different reasons. There is no one else I would trust with my life but you, but I’m afraid I’ve become a burden to you. I find it difficult to know where I stand, where the limits are, how I should act around you.

But I’ve learnt today, the hard way, after seeing you part from me for the umpteenth time and after observing the creatures that roam these mountains, that my approach has been completely off.

You are not a dragon. Never have been and never will. They come and go or they don’t, they can fly, spit fire, the most absolute chaos can burst in any second, destroying everything around them. To be on good terms with them again, you need to sit still and wait. Make yourself as little of a threat as possible.

But you, my love, you are a feline, and cats can sense when one is not confident enough to handle them. So they scurry away. A change of attitude it’s what’s needed or you’ll just see their tails as they leave the room.

All of this to say I hope you will forgive me.

Once I told you, as you lay in my arms, I whispered to you it would be only fair to follow where you lead.

And now I intend to keep my promise, because it was one, whether you know it or not.

Although I should have been quicker to say it,

I accept your offer, if you’ll have me, and I’ll reunite with you in Ireland if I manage to find where you are.

If after these weeks you still seek a life away from here without me, at least I’ll know that my last decision regarding you wasn’t a disappointment or one that I’ll regret.

But for all it’s worth, I want to start dreaming with you again.

With all the love I can possibly keep in my heart,

Charlie.

Before folding the letter, and with utmost care, he drew with his quill a Serch Bythol at the end of the page, hoping she would understand the meaning behind it.

His heart felt lighter, somehow, having put into words his intentions and motives and, he realised as he lifted the quill, that he hoped for her to read it. When the envelope was closed, he placed a kiss on it.

With Grimoire’s head resting on his thigh and a steaming cup in hand, he stared out of the window, watching the trees sway with the wind. He took a deep breath and enjoyed for the first time in months a quiet afternoon in solitude.

--

A/N. A short one but very much needed, if anyone still cares :) It’s hard writing these days

Next chapter >

[wroteonedad]

Is Juergen Teller's W Magazine Shoot Art?

I was lucky enough to get accepted into an arts university 5 years ago. To this day I still couldn't tell you why except for me and the lecturer talking about Kate Bush for a solid 15 minutes. And despite it nearly being two years since I graduated from university, I still haven't done anything much with said degree. I've done one live gig, made two montages and I've only just finally felt inspired enough to perhaps start a new project. Even that is exhausting considering that I have a full time job and most time I spend away from work is me sitting here and writing up whatever content I can come up with for my blog. Back onto my main point though, back in university I got to come across some amazing photographers and artists that my lecturers would tell me would flow with my work perfectly. Sometimes they did, but whoever told me about Juergen Teller,,, I wish they didn't. He's one of those artists that I forgot about for a good couple of years, until I logged onto Twitter three days ago and saw a Tweet of someone reminding me of *that* Juergen Teller shoot for W magazine. As soon as I was reminded of those images I wanted to shut off my phone and never turn it on again. So this week we are going to discuss, if the photoshoot is art or plain lazy.

Let's go back and discuss Juergen Teller pre W Magazine shoot. Teller is a German fine art and fashion photographer. You think of the first celebrity that comes to mind and Teller has probably done a photoshoot with them at some point. He moved from Germany to London all the way back in 1986 and has been actively building his career from that moment. He specialises in 'minimal' images when it comes to his portraits of celebrities and models over the years, many which are. What makes him different to other commercial photographers is that he refuses to tailor his work to the clients wants and needs, because he has his own established style and know what works for him. While many of his works, especially his older works, are mesmerising and captivating, I also feel as though Teller has been stuck in this safe space for years, never crafting anything that steps out of what he knows in case it doesn't get the reaction he wants.

I liked his old work. Hand on heart, I will admit it. I was a big fan of how personal the images looked, kind of like I was going through a family photobook of somebody I don't know. I liked how lowkey the images were, never big studio images. Always homely environments, a bedroom, a garden. Sometimes it felt as if Teller was trying to make the person he was shooting appear on the page as a middle class person. Ordinary folk, like you and me. These images were not airbrushed, the way in which you'd see famous models grace the cover of Vogue magazine. You could see blemishes, bags under the eyes. I respected that because I really think it takes balls for a photographer to not only take images of these in the first place, but then to publish them like that and refuse to edit it the way in which you would like to look.

In more recent years, Teller almost gave up photography. He realised that the world is suddenly 'flooded' with photographs, that it's so easy to take an image. When he first began his career, there weren't so many people making images. It was something that felt like an art and only some people had the ability to capture that. It all stems to the debate of artists and their love hate relationship for platforms such as Instagram. Teller hates phone photography and Instagram so much that it was the concept of social media and people not caring about these images that made him want to stop. Perhaps it can be argued that the photoshoot for W Magazine feels like a mockery, a big fuck you to people who rely on mobile phones to take their own images, or images of other people.

The photoshoot for the magazine feels humbling for all the celebrities who partook. A random street in the middle of Los Angeles, a place that always looks rich and glamorous, especially when we think of the celebrity culture over there. This shoot was a car, a tree and a street with a dream.

The controversy from the public was how baffled they were from how simple this photoshoot was. No special lighting, no post editing, just images that look like something my mum would take. Even Riz Ahmed claimed that his shoot with Teller lasted for 20 seconds. Two images and his work was done. Perhaps it really is in order for us to look at the image of the celebrity and remind ourselves that they're just like us. The images scream anti-celebrity in the way that every image subverts the types of images you usually see of a famous person. Whether they're magazine shoots or even Instagram images, their posts always feel airbrushed and glamorous, a type of beauty standard that most feel as though they could never tend to. Perhaps that is truly what makes this photoshoot so memorable, because most of these famous people look dumb in this silly rundown place with no glamour around then aside from perhaps their outfit (not James Corden though).

However if you think these images are artistic and out of the box then, well that's your opinion. I can't see why you would take anyone, let alone a celebrity out into a dirty city street and have them sit on discarded fold up chairs on the side of the road or let them sit on the floor next to a pile of someone else's litter. No matter how much I look at this collection of images, I can't view it in any form of art form. Not even anti-art and the whole collection of images do nothing for me. I'm not saying that he's a bad artist because there are many of his older images that I really love, but the flair was not there for this entire magazine shoot. It feels as though it was made to make some headlines and make a name relevant again; whether that is Teller's name or some of the famous people included in this shoot, you decide. And truthfully, I am sick of critiques defending the entire photoshoot. Mark Grobe wrote an entire article about how he thinks if the person doesn't get the W magazine shoot, then it means that Instagram rotted their brain. In his essay he states 'It's a tough pill to swallow but people love the feeling evoked by a Juergen Teller-esque image – until it's shot by Juergen Teller, as evidenced by the meme.' (the following meme is below)

'The informal and "iPhone style" aesthetic is so of the moment that it's tricky to recognize as warranting artistic merit, and it's possible that Teller is a victim of his audience who, growing up on social media, see amateur-style photography as something that needs to be purged from the camera reel, and not published in a fashion magazine.' However I have to disagree, not understanding the photoshoot has nothing to do with social media rotting your brain, or having access to taking a photo wherever you are whenever, it is just the way that people connect with each other of the Internet. I feel like a veteran when I say I've had my Twitter account for 11 years, but the best times I've seen people connect with one another is when they are simply taking the piss out of something, whether it's as insignificant as a photoshoot or the rumours of World War 3 back in 2020. People bond and people love over being able to share silly jokes, it never means the actual meaning of something has gone over anybody's heads and its silly to even make an assumption like that.

Maybe you think these images are amazing, that's fine. Maybe you also hate them and can't see what it is about them that makes them a form of fine art. Anyone who knows anything about the field of fine art will always at some point make a piece of art that doesn't really make sense to anyone except for them. The only memorable part of this photoshoot were the memes that exploded on Twitter after it and I think that's perfectly reasonable too.

This was still the best meme out of all of the ones I saw online though.

[path-of-my-childhood]

How Aaron Dessner and Taylor Swift Stripped Down Her Sound on ‘Folklore’

By: Jon Blistein for Rolling Stone Date: July 24th 2020

At the beginning of March, the National’s Aaron Dessner traveled back to the United States from Paris, where he’d been living with his family, to shack up at Sonic Ranch Studio in Tornillo, Texas to work on the next Big Red Machine album with Bon Iver’s Justin Vernon. Those plans - obviously - soon shifted, as the reality of the COVID-19 pandemic set in. Dessner and his family were able to relocate to their home in upstate New York as lockdown orders went into effect, and the musician soon settled into a groove of homeschooling his kids and able to focus fully on music in a way he hadn’t in a while, due to the National’s regularly rigorous touring schedule.

In the middle of what Dessner describes as one of the most productive moments of his career, Taylor Swift called. A longtime and avowed fan of the National, Swift asked if Dessner wanted to try collaborating on a few songs remotely. He said of course, and asked if she was looking for anything in particular. He noted that he had plenty of material at the ready, but acknowledged he’d been in a more experimental mood, due to the Big Red Machine sessions; not to mention, Dessner added, he’d never really ventured into the pop world Swift has dominated for well over a decade. She told him to send everything he had.

“I think she was interested in the emotions that she feels in some of the music that I’ve made,” Dessner tells Rolling Stone.” So I just sent her a folder of things I’d done recently and was excited about. Hours after, she sent back a fully written version of ‘Cardigan.’ It was like a lightning bolt struck the house.”

Over the next few months, Dessner and Swift crafted the bulk of Swift’s eighth studio album, Folklore. Dessner spoke with Rolling Stone about working with Swift, their instant chemistry, how the album developed under a thick cloud of secrecy and more.

When Taylor first reached out, did she have a specific vision in mind for the album? She was a bit cryptic. I didn’t know that we were actually working on a record for quite a while. It just seemed that she was seeking me out to collaborate. And then we were both feeling very inspired by it. Once there were six or seven songs that we had written over a couple of weeks, she said, “Hey can we talk?” Then she said, ‘This is what I’m imagining,’ and started to tell me about the concept of Folklore. Then she mentioned that she’d written some songs at an earlier stage with Jack [Antonoff], and they felt like they really fit together with what we were doing. It was a very inspiring, exhilarating collaborative process that was almost entirely remote. Very sort of warp speed, but also something about it felt like we were going toe-to-toe and in a good pocket.

After “Cardigan,” how did these songs develop and do you think she pushed you in any new directions as a songwriter? When you’re working with someone new, it takes a second to understand their instincts and range. It’s not really conscious. She wrote “Cardigan,” and then “Seven,” then “Peace.” They kind of set a road map, because “Cardigan” was this kind of experimental ballad, the closest thing to a pop song on the record, but it’s not really. It’s this emotional thing, but it has some strange sounds in it. “Seven” is this kind of nostalgic, emotional folk song. Even before she sang to it, I felt this nostalgia, wistful feeling in it, and I think that’s what she gravitated towards. And “Peace,” that just showed me the incredible versatility that she had. That song is just three harmonized bass lines and a pulse. I love to play bass like that - play one line then harmonize another, and another, which is a behavior I stole from Justin Vernon, because he’s done that on other things we’ve done together. And actually, that’s his pulse, he sent me that pulse and said, “Do something with this.” But when she wrote that song, which kind of reminds me of a Joni Mitchell song over a harmonized bassline and a pulse, that was kind of like, “Woah, anything can happen here.” That’s not easy to do. 

So, in the morning I would wake up and try to be productive. “Mad Woman” is one I wrote shortly after that, in terms of sound world, felt very related to “Cardigan” and “Seven.” I do have a way of playing piano where it’s very melodic and emotional, but then often it’s great if whoever’s singing doesn’t sing exactly what’s in the piano melody, but maybe it’s connected in some way. There was just some chemistry happening with her and how she was relating to those ideas.

“Epiphany” was something she had an idea for, and then I imagined these glacial, Icelandic sounds with distended chords and this almost classical feeling. That was another one where we wrote it and conceived it together. She just has a very instinctive and sharp musical mind, and she was able to compose so closely to what I was presenting. What I was doing was clicking for her. It was exhilarating for us, and it was surreal - we were shocked by it, to be honest [Laughs]. I think the warmth, humanity and raw energy of her vocals, and her writing on this record, from the very first voice memos - it was all there.

Do you think that chemistry might’ve had something to do with her being a National fan, and you being a fan of her music? We met Taylor at Saturday Night Live in 2014, or whenever that was that we played and Lena Dunham was hosting. We got to meet her, and that was our first brush with a bona fide pop star. But then she came to see us play in Brooklyn last summer and was there in a crazy rainstorm, like torrential downpour, and watched the whole show and stayed for a long time afterwards, talking to me and my brother. She was incredibly charming and humble. That’s the nice thing about her, and a lot of people I’ve met that have that kind of celebrity. It’s great when you can just tune it out and be normal people and chat, and that’s how that felt. So, we knew that she was a big fan, and we really got into the 1989 album. Our Icelandic collaborator, Ragnar Kjartansson, is a crazy Swiftie. So we’ve kind of lived vicariously through him. I’ve always been astonished by how masterful she is in her craft. I’ve always listened to her albums and put them in this rarefied category, like, “How did she do that? How does anybody do that? How do you make ‘Blank Space?’” There was an element that was intimidating at first, where it just took me a second to be like… Not because I think her music is better than what we’ve done, but it’s just a different world.

Were there particular songs, albums or artists the two of you discussed as reference points for this album? “Betty,” which is a song she wrote with William Bowery, she was interested in sort of early Bob Dylan, like Freewheelin’ Bob Dylan, I think. “Epiphany,” early on, felt like some weird Kate Bush-meets-Peter Gabriel thing. I think we talked a little about those things, but not a lot. Actually, I think she really trusted me as far as my instincts to where the music would ultimately go, and also the mixing process.  We really wanted to keep her voice as human, and kind of the opposite of plastic, as possible. That was a bit of a battle. Because everything in pop music tends to be very carved out, a smiley face, and as pushed as possible so that it translates to the radio or wherever you hear it. That can also happen with a National song - like if you changed how these things are mixed, they wouldn’t feel like the same song. And she was really trusting and heard it herself. She would make those calls herself, also.

You mentioned William Bowery - who is he? He’s a songwriter, and actually because of social distancing, I’ve never met him. He actually wrote the original idea for “Exile,” and then Taylor took it and ran with it. I don’t actually know to be totally honest.

We’ve been trying to track him down, he doesn’t have much of an internet presence. Yeah, I don’t fully know him, other than he wrote “Betty” and “Exile” with her. But you know she’s a very collaborative person, so it was probably some songwriter.

So it’s not an alias for anyone? No, no, no. I mean, I don’t know - she didn’t tell me there was a “Cardigan” video until literally it came out, and I wrote the song with her [laughs]. So I don’t know. But I’m pretty sure he’s an actual songwriter. She enjoys little mysteries.

With the National, you and your brother write the music, Matt Berninger adds the lyrics, and then you fuse it - was it a similar process on Folklore? Taylor is very collaborative in that sense that, whenever she sent a voice memo, she would send all the lyrics and then ask me what I thought. And sometimes we would debate certain lines, although generally she’s obviously a strong writer. So she would ask me if I liked one line, and she would give me alternate lines and I would give her my opinion. And then when she was actually tracking vocals, I would sometimes suggest things or miss things, but she definitely has a lot of respect for the collaborative process and wants whoever she’s writing with to feel deeply included in that process. It was nice, and was a back and forth, for sure. And she would sometimes have ideas about the production if she didn’t like something, especially. She would, in a tactful way, bring that up. I appreciated that, too, since I wanted to try to turn over every leaf, take risks and sometimes get it wrong. That always takes a second, to get over and then you start again.

You mentioned earlier that once you had six, seven songs, she was able to describe a concept behind the album. I’m curious what that conversation was like. She would always explain what each song was about to me, even before she articulated the Folklore concept. And I could tell early on that they were these narrative songs, often told from a different… not in the first person. So there are different characters in the songs that appear in others. You may have a character in “Betty” that’s also related to one in “Cardigan,” for example. And I think that was, in her mind, very, very important. It doesn’t seem like, for this record at least, that she was inspired to write something until she really knew what it was about. And I think I’m used to a more - at least lately - impressionistic and experimental world of making stuff without really knowing what it is. But this was more direct, in that sense. That was really helpful, to know what it was about and it would guide some of the choices we were making.

Every time she would send something, she would narrate a little bit, like how it fit, or what it was about. And then when she told me about Folklore as a concept, it made so much sense. Like “The Last Great American Dynasty,” for example, this kind of narrative song that then becomes personal at the end - it flips and she enters the song. These are kind of these folkloric, almost mythical tales that are woven in of childhood, lost love, and different sentiments across the record. It was binding it all together and I think it’s personal, but also through the guise of other people, friends and loved ones.

You were working in secret - how did that affect the process? Was that a difficult burden? It was. I was humbled and honored and grateful for the opportunity and for the crazy sort of alchemy we were having. But it was hard not to be able to talk openly with my usual collaborators, even my brother at first. I didn’t know if I could really tell him, because we normally… Ultimately, he helped me quite a bit, he orchestrated songs. But we always help each other. But eventually, we figured out how to do it. Towards the end of the process, I said to Taylor, ‘I really feel that I need to try a few experiment and try to elevate a few moments on the record because we have time, and we’ve really done a ton of work here, and it all sounds great, but I think we can go even further.’ And then she said, ‘Well what does that mean?’ And I explained how that would work, and the way that we work. Our process is very community-oriented, and we have long-time collaborators that we have a good understanding with. So I was able to say, to my friends, ‘This is a song I’m working on, I can’t send it to you with the vocals, and I can’t tell you what it is, but I can explain what I’m imagining.’ And the same with my brother, he knows my music so well that that was very easy for him to just take things that we were working on, add to that, and do his kind of work. So it was all remote and everyone was in their corner and we were shipping things around. It was incredibly fast because of that, because you didn’t have eight people needing to come to the studio. You had eight people working simultaneously - one in France and one in L.A. and one in Brooklyn. This is how it went, and it was fun. We got there.

When were you able to tell everyone who contributed that this was the Taylor Swift record, what was their reaction? You can imagine. I think they realized it was something big because [of] the confidentiality, and they were like, ‘It could only be a few things.’ I couldn’t tell them until, basically, when she announced it. Just in the moments after she announced it, I basically told everyone. I was like, ‘By the way…’ And they were thrilled. Everyone’s thrilled. Nobody seemed mad, everyone was thrilled and honored. Even Justin Vernon had not heard anything else except “Exile,” even though the pulse of that song “Peace,” he gave that song to me. It was important to have it be a surprise, and you know how it can be with someone in her position, with all the speculation, and she’s always under a lot of pressure like that. So it was really important to the creative freedom she was feeling that this remained a secret, so she could just do what we were doing.

Being such longtime friends and collaborators with Justin, what was it like hearing “Exile” for the first time? His voice and Taylor’s together? He’s so versatile and has such a crazy range, and puts so much emotion… Every time he sings when I’m in his presence, my head just kind of hits the back of the wall. That’s the same on this song. William Bowery and Taylor wrote that song together, got it to a certain point, then I sort of interpreted it and developed a recording of it, and then Taylor tracked both the male and female parts. And then we sent it to Justin and he re-did obviously the male parts and changed a few things and also added his own: He wrote the “step right out” part of the bridge, and Taylor re-sang to that. You feel like, in a weird way, you’re watching two of the greatest songwriters and vocalists of our generation collaborating. I was facilitating it and making it happen, and playing all the music. But it was definitely a “Wow.” I was just a fan at that point, seeing it happen.

Are there any moments that really stick out to you as particularly pivotal in shaping the sound of this record? The initial response. When we first connected, and I sent a folder of music and Taylor wrote “Cardigan,” and she said, “This is abnormal. Why do you have all these songs that are so emotional and so moving to me? This feels fated.” And then she just dove into it and embraced this emotional current. And I hope that’s what people take out of it: The humanity in her writing and melodies. It’s a different side to her. She could have been every bit as successful just making these kinds of songs, but it’s so great that she’s also made everything that she’s ever made, and this is a really interesting shift, and an emotional one. It also opens other doors, because now it’s kind of like she can go wherever she wants, creatively. The pressure to make a certain kind of… bop - or whatever you want to call it - is not there really anymore. And I think that’s really liberating, and I hope her fans and the world are excited by that because I am. It’s really special.

[tabloidtoc]

Star, March 8

You can buy a copy of this issue for your very own at my eBay store: https://www.ebay.com/str/bradentonbooks

Cover: George Clooney vs. Brad Pitt -- the fight that ended their friendship

Page 1: Scott Disick's mid-life makeover -- some guys buy a convertible but Scott already has a garage full of fancy rides, so what else to do when you're edging close to 40, split from the mom of your three kids and are already dating a 19-year-old model? Well, bleach your hair platinum, of course!

Page 2: Contents, Leighton Meester and Adam Brody celebrated their sixth wedding anniversary with a couple's surf session

Page 3: Star Shots -- John Legend wore an eye-catching sweater to a photoshoot in West Hollywood, Anya Taylor-Joy stunned in a crimson gown on the set of an untitled David O. Russell-directed period film, Jason Sudeikis grabbed a bite during a break from filming Ted Lasso's second season in London

Page 4: After hosting countless rose ceremonies over nearly two decades of The Bachelor and The Bachelorette, Chris Harrison is now in the hot seat himself and facing backlash for defending current Bachelor frontrunner Rachael Kirkconnell who's been accused of racist behavior -- the next day, Chris apologized and said he was stepping aside as host of the dating reality series but the damage was done as Rachel Lindsay who is the first Black lead in the franchise's history revealed she won't renew her Bachelor contract and current Bachelor Matt James supported her -- as for Chris, the fallout continues as Crest are considering pulling down ads featuring him but with critics calling for his ouster Chris wants his job back and no one at ABC wants to see him replaced but those conversations are happening

Page 5: Miley Cyrus has an idea how to help Britney Spears in her legal battle to replace dad Jamie Spears as her conservator -- Miley is hoping she and Britney can record a classic song together like an anthem like Sisters Are Doin' It for Themselves or Enough Is Enough and she's hoping to get Britney on board but that may be a challenge with the legal restrictions in place

* Mom-of-eight Kate Gosselin didn't get what she was asking for on her house in Pennsylvania -- it's upsetting that she got less than she paid for it but her hand was forced; it costs a lot to keep up a house like that on 20-plus acres and with years of roughhousing, it needs a lot of work -- with twins Mady and Cara already in college and the sextuplets growing up, Kate hopes to jump-start her career and she's dying to leave Pennsylvania and head to Hollywood

* Paris Hilton's boyfriend of just over a year Carter Reum dropped to one knee on a gorgeous private beach and offered Paris his heart and a sparkler from Cartier and she said yes -- close family was on hand to celebrate the couple who have been friends for 15 years and the party went on well into the evening -- now Paris is already making wedding plans for something simple and elegant with a gorgeous dinner and the couple is ready to start a family sooner rather than later and she's hinted she's already started IVF and if she gets pregnant they'll just push up the wedding

Page 6: Ryan Gosling needed some time off after 2018's moon-landing biopic First Man because he really became Neil Armstrong during the six months of shooting and he was absolutely drained after finishing it and he spent the next two years with wife Eva Mendes being a full-time dad to their two young kids -- now he's back and with three movies lined up, he's looking at a $75 million paycheck this year -- in addition to The Gray Man, he's gearing up for a Wolfman update and another space adventure called Project Hail Mary -- he wants to be a popcorn-movie star and he's going full-blown buff-and-shirtless action hero

* Allen v. Farrow is a new investigation into 1992 allegations about Woody Allen by his adopted daughter Dylan Farrow and her mother Mia Farrow that digs up damning new evidence against the director -- one harrowing home video shows the then-7-year-old Dylan saying her dad touched her privates and later a doorman and a building manager and a maid at Allen's NYC residence raise questions about when Woody began his shocking relationship with Mia's teen daughter Soon-Yi -- Mia also expresses fear in the doc, saying she worries that when the documentary comes out he'll be on the attack again and he'll do whatever he has to do to save himself

* Star Spots the Stars -- Julia Roberts, Joe Jonas, Luann de Lesseps, Christina Aguilera, Kaia Gerber, Tarek El Moussa and Heather Rae Young

Page 8: Star Shots -- With balloons and a box of chocolate in hand lifestyle expert Gretta Monahan arrived at The View, Melissa Gorga snacked on a huge box of sweets between Zoom interviews to promote the 11 season of The Real Housewives of New Jersey, Vanessa Lachey prepared to host a Galentine's Day celebration with macarons and wine

Page 10: Jenna Dewan making a plant-based meal, Selling Sunset's Christine Quinn and her husband Christian Richard sipped juice bar drinks while running errands in Beverly Hills, Hugh Grant stopped to tend to his laces while out for a walk in Chelsea in West London, Carrie Underwood prepped for her daily workout session in pieces from her Calia fitness apparel line

Page 12: After a stop at the Kidding Around children's store Bradley Cooper had his hands full walking with his daughter Lea in NYC, Sofia Vergara chic in a blowout and patterned top in Beverly Hills, Justin Bieber looked comfy in a message tee and pajama bottoms in L.A.

Page 13: Thandie Newton looked tense while Chris Pine hit the ground running as the two filmed the spy thriller All the Old Knives in London, Jon Bernthal braved the frigid water while Gretchen Mol bundled up on the set of American Gigolo in L.A.

Page 14: Think Pink -- Jennifer Lopez hoisted an oversized customized bubble-gum hued Coach satchel in a promo shot in NYC, Cardi B slipped on neon sneakers from her Reebok collaboration to shop on Rodeo Drive in L.A., Hilary Duff showing off a peek of her growing baby bump on the set of Younger in NYC

Page 16: In town to film The Hills: New Beginnings with their castmates Spencer Pratt and Heidi Montag played in the snow with their son Gunner in Lake Tahoe

Page 17: Mandy Moore and husband Taylor Goldsmith celebrated their last Valentine's Day before parenthood with a romantic stroll in Pasadena, Michelle Obama on her new children's show Waffles + Mochi

Page 18: Chris Meloni and Mariska Hargitay in NYC, hiding her locks in a cute newsboy cap Brooke Burke grabbed dinner at Nobu in Malibu, Krysten Ritter brought her son Bruce to meet some farm animals at the Gentle Barn in Santa Clarita

Page 20: Normal or Not? Farrah Abraham suffered a serious wardrobe malfunction while hitting the sand in Malibu -- not normal, Nikki Reed gushing over her therapy chicken -- normal, Property Brothers' Drew Scott booty bumpin' with wife Linda Phan -- not normal, Lucy Hale lovingly held onto her new dog Ethel while fueling up her ride in L.A. -- normal

Page 22: Fashion -- stars in pastel frocks -- Heidi Klum, Sophia Bush, Chrissy Teigen

Page 23: Rihanna, Kirsten Dunst

Page 26: Kourtney Kardashian and Travis Barker are having sexy slumber parties at Kourtney's $8.5 million Calabasas pad and they are spending so much time together and she loves having him sleep over and he'll stay the whole weekend -- Travis who has lived nearby in the gated community for years is already making himself at home and not only has he moved a bunch of stuff into Kourtney's property but she leaves him to chill out and enjoy his space if she has to run errands -- even if it seems the couple is moving and moving in fast, their respective broods are on board with the new arrangement and Kourtney's kids Mason, Penelope and Reign love having Travis around and meanwhile the door is always open for Travis' kids Alabama and Landon, and Travis and Kourtney do a lot of fun stuff with their kids together -- there's already speculation that the move-in will be permanent because Kourtney knows a good thing when she sees it and Travis checks all the boxes

Page 27: Meeting the in-laws might be a little complicated for newly engaged Shailene Woodley and Aaron Rodgers because the Green Bay Packers QB is famously estranged from his Chico, California-based family -- in 2016 Aaron's younger brother Jordan Rodgers exposed the rift while competing on The Bachelorette and at the time, fans blamed Aaron's then-girlfriend Olivia Munn for turning him Hollywood but the trouble continued after their 2017 split -- now that he's with Shailene, Aaron doesn't want to bring her into that toxic atmosphere but Shailene who once called her own folks super f**ked up is not deterred and she is encouraging Aaron to let bygones be bygones but he's not ready

* Melissa and Joe Gorga's marriage troubles will play out on the new season of The Real Housewives of New Jersey but their issues are even worse behind the scenes and they've been butting heads as Melissa's career continues to skyrocket so she's distracted with work and doesn't have time for Joe and he feels neglected and he isn't one to hold back -- it doesn't help that the Envy boutique owner was rumored to be getting close to another man -- the couple is trying to work out their issues for the sake of their three kids but Melissa may be done

Page 28: Cover Story -- George Clooney and Brad Pitt: The Breaking Point -- fights, jealousy and other women -- the former besties had a major falling out and now mutual friend Sandra Bullock is desperate to reunite them -- George and Brad have barely spoken in eight years and they've definitely gone their separate ways and Brad's ex-wife Angelina Jolie played a big part in the demise of their friendship because Angie felt George took Brad away from her and their kids -- Amal Clooney found Angie unbearable and that was kind of the point of no return for Brad and George -- George is struggling to regain his luster as a director while Brad is out there winning Oscars

Page 32: Prince Harry and Meghan Markle: Interview Shockers -- as they prep for baby number two, Harry and Meghan announce a no-holds-barred interview, leaving the palace on edge

Page 34: Celebs in Wheel Trouble -- don't drink (or drug) and drive; these stars got caught making some very bad decisions -- Bruce Springsteen, mug shots of Justin Bieber

Page 35: Reese Witherspoon, Vince Vaughn, Lindsay Lohan, Michael Phelps, Khloe Kardashian, Henry Thomas, Heather Locklear, Jesse Luken, Mel Gibson

Page 36: Beauty -- curl care -- strengthen every type of wave and coil with cool new miracle workers

Page 48: Parting Shot -- Bill Murray teamed up with NFL player Larry Fitzgerald for the AT&T Every Shot Counts Charity Challenge in Pebble Beach -- despite landing in third place, Bill and Larry made a great pair, earning an impressive $209,000 for local charities

[fergzillar]

England is a world leader in art because they colonized everyone else and destroyed their heritage, including their art. That's why. Or a big reason why.

True! I live here! I know!

If we’re talking about classical art then we have stolen and plagiarised a great deal. But the contemporary art industry in the UK is one of the largest in the world and it’s one of the only areas we actually excel in. There’s been a lot of furore lately re: Brexit and British industry, the fishing industry, worth about 900m has been a huge talking point whereas arts, worth +20bn has been neglected and is even being actively quashed by the tory government (see this fun ad that the UK gov put out a few months into lockdown).

I hate the UK and what we have done to other cultures historically, I’m not a fool don’t you worry. But even dismissing classic artists, your William Blake’s, Morris, the Bronte sisters, my favourite John Waterhouse - British art and media is still hugely significant. There isn’t a huge amount of distribution on the US front but Europe and Australia are regularly consuming British film and television, I might be biased as a film student but I think we produce some of the best in the world as far as quality goes. Our theatre and dance companies are thriving (or were excusing current circumstances). London is one of the most world-renowned cities when it comes to fashion, though the less said about London the better. Music gets into some territory that obviously has crossover with the ask, I feel less so than the US’ relationship with music and the appropriation of such historically. I am again more speaking about the contemporary scene here though, is the accusation here that Radiohead, Charli XCX, Kate Bush, The Smiths, La Roux, Gorillaz, are all colonizers? Or that they are benefitting from historical colonization in the industry? Because I agree with the latter, not the former. All of the above is propped up by POC and the advantage that has been taken of them over the centuries, not only these but the appropriation of Irish culture and remembering it and their artists as ‘British’ revolts me.

My biggest issue is that Northern English media never gets a showing outside of the UK, no one knows how rich in art it is up here because our communities are built around the working class and immigrants. The export of our television and cinema, in particular, is nil, despite how much we make and how good it is, this is because the British media industry is still London based and government influenced. The tory government still want to give the impression that we are noble folk who live in castles and have manners and drink scones with jam. A false impression of class is what they want to sell to make us seem like we are still a powerful nation. They sincerely believe that foreign audiences won’t watch working-class, specifically northern English people, they do not like that we have our own culture that is rooted in rebellion against the government, acceptance of immigrants, and integration with Wales, Ireland and Scotland.

--

Sorry if this is long and stupid but art is one of the only things that makes me proud of where I come from. Northern art moreso, and the fact that it has basically 0 exposure outside of the UK due to suits and fox-hunting tory fucks, makes me very upset about the impression other countries might have of working-class culture in England.

Thank you for my only ask of the year and also Merry Midwinter!

[riathenowheregirl]

Gold Dust Women: My Favorite Witchy Singers

Okay, before you burn me alive with “Where’s this certain artist?!” or “Why is this certain artist not here?!” or “Who even uses Tumblr these days?”, uhmmm me bish?? It’s my safe zone. Okay, the last question was a joke. 

Can I just say that the amazing women on this list are artists I listen to all the time. They’re my favorites, so chill (I’m open for suggestions tho). This is not Rolling Stone or Billboard magazine, it’s just ya girl’s good ol’ tumblr blog. Also, I’m not saying that all of them are literal w i t c h e s, it’s just that they portray the same aesthetic through their art and music. 

Alright, now that’s settled, let’s start.

1. STEVIE NICKS 

Do I even need to explain this? Stevie is undoubtedly the Etheral Queen of them all, the Pioneer, the O.G. Supreme whose lyrical soul and spellbinding voice echoes from the distant past to the inevitable future. Everything about her oozes with witchcraft and magic starting from her iconic top hat, to her millions of intricately made shawls, down to her platform boots. Only Stevie Nicks could pull off such Not-of-this-Era outfits and she has been doing it CONSISTENTLY. She’s in a timeline of her OWN. If you listen to her music, you would notice that every song of hers is poetry, like she’s telling a story or conjuring the unknown. She’s every witchy woman’s icon and that’s a fact.

Stevie is an untouchable yet gracious legend, we’ll always be a part of her sisterhood until the day of earth’s decay. Forever the Queen of Rock N’ Roll. 

Current Favorite Stevie Lyrics:  “ You can fly swinging from your trapeze, scaring all the people...but you'll never scare me.”  |   “Once in a million years a lady like her rises. Oh no, Rhiannon, you cry, but she's gone and your life knows no answer.”

Notice how I used the word “current”? Because it always changes depending on the state my life. Here’s a more detailed post on why I love her.   

2. KATE BUSH 

“Heathcliff, it's me, I'm Cathy, I've come home, I'm so cold! Let me in through your window!”

The eccentric beauty, Kate Bush made a genius, artistic move by writing a song about the book, Wuthering Heights, written by Emily Brontë in the 1800′s. Mind you, she was only 18 when she wrote and was the first song written by a female artist that landed on top the charts. Her voice is almost as distinctive as Stevie Nicks. While Stevie’s more nasal, commanding, wailing rock n’ roll goddess, Kate’s voice was high-pitched, alarming, ghostly, queer, and fairy-like. Everything about her is Performance Art. This is a woman who is not afraid to express herself.

For starters, you might think her music is strange and weird. Trust me, I felt the same way when I first heard her songs. But then, it began to grow on me leaving floral patterns on its path. 

Favorite Kate Bush Lyrics:  “Do you want to feel how it feels? Do you want to know that it doesn't hurt me? Do you want to hear about the deal that I'm making? You, it's you and me.”

3. FLORENCE WELCH 

This one is as obvious as Stevie Nicks. Florence Welch from the band, Florence + the Machine, is a poetess, a screaming banshee, and a full-pledged Sister of the Moon. She even started a witch coven during middle school. From her red carpet looks to her everyday outfits on Instagram, Florence vibrates powerful witch energy. Not to mention she has a song called “Which Witch” and that haunting music video for Big God with levitating women. Flo is not a woman to trifle with, I’ll tell you that. 

Photos courtesy of @lillieeiger

In all her songs, Florence will bind you with magic and it’ll leave you breathless. If Stevie’s songs are poetry, hers are spells you could sing out loud. Also, if you haven’t seen her house tour, go check it now! 

Favorite Florence Welch Lyrics: “'Cause I am done with my graceless heart so tonight I'm gonna cut it out and then restart.”  |  “And in a moment of joy and fury I threw myself in the balcony like my grandmother so many years before me.”

4. LANA DEL REY

Remember when Lana used witchcraft to hex Donald Trump? It was all over the news and Twitter went wild. She was later quoted saying, “I really do believe that words are one of the last forms of magic and I’m a bit of a mystic at heart.” Oh, and she also did a collab with Stevie. 

We. Stan. Forever.

There was even a time that I MEMORIZED the monologue in the music video for Ride. ALL OF IT, HUNNY. 

Lana’s hypnotizing vocals together with her sixties baby doll dresses and Priscilla Presley hair is enough to convince me that she’s not of this era. She has a deep understanding of the beauty of past generation and the looming sadness and nostalgia that comes with it. Whenever I listen to her music, I imagine myself as a rockstar’s muse who is involved with the mafia but then I decided to leave him while taking his gun and convertible. ¯\_(ツ)_/¯

Favorite Lana Del Rey Lyrics: “Well, my boyfriend's in the band. He plays guitar while I sing Lou Reed. I've got feathers in my hair, I get down to Beat poetry. And my jazz collection's rare, I can play most anything.”

5. LORDE 

David Bowie didn’t call her the “future of music” for nothing. Just two albums under her belt, Lorde already proved that she will one day become a legend herself. Her music narrates an unparalleled interpretation of the anguish and fleeting charm of our youth. She knows what we’re feeling because she’s been there herself and is on the road to healing just like us. 

I think the message she’s trying to say is that we’re constantly losing grip on our innocence, and that life is often wicked so we need to accept that, grit our teeth, get on with it, and make art. She can also see color when she hears music. 

In my opinion, Lorde is one of the greatest artists of my generation. 

Favorite Lorde Lyrics: “The truth is I am a toy that people enjoy till all of the tricks don't work anymore, and then they are bored of me.”  |   “That slow burn wait while it gets dark, bruising the sun, I feel grown up with you in your car. I know it's dumb.” 

6. FKA TWIGS

Honestly, FKA Twigs is literally art in living form, a celestial angel that nobody can easily decipher. This woman has more talent in her fingertips than I could ever have in a lifetime. She somehow reminds me of a young Kate Bush; fearless, experimental, with an intoxicating voice. She never stops reinventing herself and it’s beautiful.

In FKA Twigs’ world, there are no limits, just endless galaxies. She pours her whole being in all of her songs and it shows. She’s not for the faint of heart, let me tell you that. 

Favorite FKA Twigs Lyrics:  “And I don't want to have to share our love. I try but I get overwhelmed. All wrapped in cellophane, the feelings that we had.” 

7. SKOTT 

I say this all the time, but I cannot write without Skott’s music blasting on my earphones. She grew up in a “forest commune run by outcast folk musicians” and was not exposed to contemporary music until her teen years. You would notice it in her songs. 

It’s hard to explain why, but listen to Skott’s music when there’s thunder and rain outside, then you’ll know why this woman is witchy. I kind of want her to be more popular and known, but then again, I also want to keep her to myself. Scratch that, LISTEN TO SKOTT’S MUSIC NOW. 

Start with Glitter & Gloss. 

Favorite Skott Lyrics: “Like an empty canvas, hear me cry. Like a masterpiece, I'm in your eyes. Now your colors are in front of me, we're a picture-perfect oddity.”

8. FIRST AID KIT 

I fell in love with this sister duo when I first heard their song, Emmylou, while browsing YouTube. It’s one of those moments of instant magic. Klara and Johanna Söderberg are a coven of their own. I would describe their music as “Woodland Folk laced with runes and wild flowers”. 

Their voices compliment each other so much that it reminded me of Simon & Garfunkel (they even performed their own version of America in front of Paul Simon!!!). First Aid Kit has this Woodstock seventies vibe, and you know me, I live for that sh*t. 

Favorite First Aid Kit Lyrics: “ When I run through the deep dark forest long, after this begun, where the sun would set, the trees were dead and the rivers were none. And I hope for a trace to lead me back home from this place, but there was no sound there was only me, and my disgrace.”

9. ZOLA JESUS

Zola Jesus’ music deserves to be played with an orchestra inside an abandoned castle in Transylvania while it gently rains and you’re wearing a white nightgown as you roam its empty halls. Is that too much?

 Not at all. 

Like Skott, I listen to Zola whenever I’m having writer’s block. If I ever finish my book, I’m gonna have to thank them. 

Favorite Zola Jesus Lyrics: “I'm on my bed, my bed of stones, but in the end of the night we'll rest our bones, so don't you worry. Just rest your head cause in the end of the night we'll be together again.”

10. ZELLA DAY 

Photo Credits to Harper Smith

I LOVE ZELLA DAY’S MUSIC OH MY GOODNESS. My favorite songs of her are Sweet Ophelia, Hypnotic, Man on the Moon, and Hunnie Pie. ESPECIALLY HUNNIE PIE. I cry whenever I hear that song. It’s just so pure, calming, and beautiful. 

Her music belong in the psychedelic era. 

People labeled her as the “happier version of Lana Del Rey” but I think she’s in a league of her own. She deserves more recognition, honestly! 

Favorite Zella Day Lyrics: “The older we get there's an ocean of people in places we've chosen and you know how mama keeps saying “we've gotta stop the games we're playing””. 

Hope you guys approve of my list! I really like sharing stuff that I love! Feel free to message me for more suggestions, I’d really appreciate to know more witchy artists out there. We’re all in a huge coven of sisterhood. 

Thanks for reading!

Love, 

Ria  🌙

P.S.

Please follow my blog!!! THANK YOU  🔮

[maxfieldparrishes]

do you have any headcanons for cg characters’ taste in music?

I do!!! I’ll stick to the core four, if that’s okay!

kallen

primarily rock of any era, but she’ll listen to anything–the radio was on a lot during her youth, both at home and elsewhere, so she’s at least aware of modern pop, even if a good chunk of it doesn’t do much for her.  

is definitely into indie and alternative stuff–the Mountain Goats, Mitski, the Decemberists, F+TM, etc. 

likes classic and prog rock. The longer and weirder it is, the more she likes it. King Crimson, Peter Gabriel and Genesis, Rush, and so on. Also punk and grunge.

Whitney Houston. Kate Bush. Enough said. 

likes classic soul and R&B. 

similarly, appreciates the power of a good throwback.

very picky with the metal she likes, but definitely the one of the core four who’s most into it. 

likes folk and old-school/vintage country. Can sing every verse of Tam Lin from memory. Everyone is shocked.

secretly listens to rap and hip-hop. Can legit spit. Everyone is shocked.

Song Guaranteed to Make Her Get Turnt™: “Hey Ya!” by Outkast

suzaku

Britannia’s Top 40, because that’s what they play around the base.

knows a lot of Black Sabbath, Metallica, Iron Maiden, and Guns n’ Roses songs, but doesn’t necessarily enjoy them? He thinks?

likes techno and EDM–anything with a good beat to get his heart rate up and his blood pumping. Sometimes, yes, even dubstep. 

80′s music!!! How very. 

has a fondness for the traditional Japanese songs of his childhood, but doesn’t have much opportunity to listen to or play them anymore. 

likes some rap, some hip-hop. Limited primarily to what’s playing on the radio, so he gets the same songs over and over again. 

enjoys reggae rock and ska–bands like No Doubt and Sublime. The vibe is generally very chill which, because he’s a Stressed Out Dude, he appreciates.

Song Guaranteed to Make Him Get Turnt™: “Africa” by Toto 

lelouch

mostly enjoys classical, or at the very least instrumental. He finds that lyrics are distracting when he’s trying to get Plotting™ done.

likes vintage music. Old jazz, big band, he can dig it.

complete and utter distaste for auto-tune. Ergo, not big on most modern pop. Not super into rap or hip-hop, but can deal if the flow is good and the subject matter topical. 

can tolerate most classic rock, folk and country. 

if not engaged in Serious Thinking Mode, will usually just listen to whoever’s music (usually Kallen’s) is playing. 

enjoys swing music, 1950′s doo-wop, mostly because Nunnally enjoys it even if she can’t dance along. 

thought there was no good modern instrumental music until Kallen introduced him to Explosions in the Sky. 

Song Guaranteed to Make Him Get Turnt™:“(What a) Wonderful World” by Sam Cooke. Alternatively, “the Weight” by the Band

c.c.

anything. Will listen to literally anything. Does NOT like any country music made after… 1980 or so, however.

musical tastes tend most closely align with Kallen and Lelouch’s, although she isn’t adverse to letting Suzaku put Darude’s “Sandstorm” on repeat in the car. 

has a fondness for folk, the older and more historic the better. She likes to see how the songs have changed over time. 

shares her love of Kate Bush with Kallen. 

the Child ballads! Murder ballads! Loves to tell you how the water in Ballad 923-C is actually representational of a miscarriage, or whatever. 

radio is often on. Sometimes she doesn’t like the silence. 

Song Guaranteed to Make Her Get Turnt™: “Don’t Fear the Reaper” by Blue Oyster Cult, if only for the irony.  

Feel free to give me your input! If you have something you want to add, I’m all ears!

[tuneful-ramblings]

The Kick Inside - Kate Bush: Album Review

Release Date: 17th Feb 1978

Hello

And so it has begun. Welcome to Tuneful Ramblings, where I plan to review/discuss a wide variety of music, whether it’s music I’ve loved for years, something I’ve just discovered or something someone has requested me to review. Oh, and one last thing: There will be rambling. You have been warned. :)

What is it to me?

I’ve chosen to begin with one of my all time favourite albums by one of my all time favourite artists. There will probably be a fair amount of bias in this review, and I’m not sorry about it.

The Context

Picture the scene. It’s 1978, Britain. Things are okay, but something is missing and no one is quite sure why. Until… hark! A distant warbling can be heard over the rolling English countryside. It gets closer and closer until it lands amongst the mortals and suddenly, everything falls into place. For the first time, Kate Bush graces the speakers and screens of anyone brave enough to listen. And all across the land, everything is well.

The Tracks

1) Moving ‘Don’t think it over, it always takes you over’ The Kick Inside’s first track, Moving begins with 20 seconds of whale noises (because why the hell not?), establishing the somewhat meditative atmosphere of the album. I can’t name any other songs that start in this way. (Actually, I can, and I will in a minute.) Anyway, after those 20 seconds, the whale is upstaged by Bush’s famously high songbird-like call. Shockingly, she sings about movement in this song, apparently as a tribute to her mime instructor. It does have a kind of rhythm that makes me want to sway, so I guess she succeeded there. I’m no drummer, but I must say that the soft drumstick tapping and occasional quiet cymbal are pleasantly relaxing. Moving is not my top pick from the album, but I like it more each time I hear it. Ramble Rating: 8/10

2) The Saxophone Song ‘Of all the stars I’ve seen that shine so brightly, / I’ve never known or felt in myself so rightly’ The second song on the album begins with, you guessed it, more whale noises! It always strikes me how young and sprightly Bush’s voice sounds in this song. I can’t believe she was around my age when some of these songs were recorded (and I’m still fresh out of the womb). Honestly, I’m not entirely sure of the song’s meaning (and why should I be? I didn’t write the blinkin’ thing), but it’s the kind of tune that very easily gets stuck in my head. Long story short though, if you like the sounds of whales and saxophones, you’ll probably enjoy this one. Ramble Rating: 8/10

3) Strange Phenomena ‘You pick up a paper. You read a name. / You go out. It turns up again and again.’ Strange Phenomena explores the link between female energy and the universe, and the psychic powers women are said to gain around that time of the month. Previously to hearing this song, I wasn’t aware of this myth, and I’m not sure if I can testify in favour of it because I like to think I’m quite psychic all the time, regardless of the ‘phase of the moon’. Only quite psychic though, not enough to make a living out of it. But yes, as someone who experiences a lot of coincidences *cough* accurate premonitions *cough* in my every day life, the lyrics of this song speak to me. Ramble Rating: 8/10

4) Kite ‘I got no limbs, I’m like a feather on the wind / I’m not sure if I want to be up here at all’ I always assumed this song was simply about escapism but, upon revision, I’ve discovered it’s true that if you assume, you really do make an ‘ass’ out of ‘u’ and ‘me’. With mention of Beelzebub and not knowing ‘how to get down’, I now theorize that Kite may revolve around being coerced to leave your life behind based on someone else’s promises and then regretting it. Or maybe not. I don’t know. Ramble Rating: 7/10

5) The Man with the Child in His Eyes ‘Maybe he doesn’t love me / I just took a trip on my love for him’ This beautiful song is almost a lullaby, rocking our inner children to sleep. Maybe our inner children can learn from our outer elders. Or maybe we can learn from others with inner children. Okay, I’m done. Ramble Rating: 9/10

6) Wuthering Heights ‘Too long I roam in the night / I’m coming back to his side, to put it right’  Wuthering Heights was Kate’s first big hit and is probably her most iconic track. Now, I don’t want to sound dramatic here, but this song changed my life. After rediscovering this video a couple of years ago, I fell in love with three things: Kate Bush, Noel Fielding and Emily Bronte’s novel, Wuthering Heights. I’m not going to bore you with the details, but, long story short, I can see many aspects of my life and creativity which have been influenced in some way by this holy trinity. For that, I am eternally grateful. Oh yes, and at some point, I taught myself the entire dance routine from Bush’s ‘red dress’ Wuthering Heights music video. No regrets. I’m sure it’ll come in handy one day… Ramble Rating: 10/10

7) James and the Cold Gun ‘You’re a coward James / You’re running away from humanity / You’re running out on reality’ I don’t know who James is, but this song is lit. Yep, I really did just say that. I don’t know how else to describe it. You just have to hear it for yourself. I dare you to listen to this song without tapping your foot. Ramble Rating: 9/10

8) Feel It ‘The glorious union, well, it could be love / Or it could be just lust but it will be fun’ Tracks 8, 9 and 10 appear to be a collection of songs about love. Feel It is a rather sensual song, and I’m not sure quite what to say about it. I do really like it though, and it’s certainly another earworm. Ramble Rating: 8/10

9) Oh to Be in Love ‘I could have been anyone / You could have been anyone’s dream’ As a friend of mine once said, Oh to Be in Love is a very theatrical song. I don’t know about you, but it makes me want to parade about doing some kind of improvise musical theatre routine (who am I kidding, that is what I do!). It also makes me want to be in love with someone who isn’t a fictional character portrayed by Colin Firth (or indeed, Colin Firth himself). But I suppose that’s a story for another day. Ramble Rating: 7/10

10) L'Amour Looks Something Like You ‘The thought of you sends me shivery / I’m dressed in lace, sailing down a black reverie’ This is another track which has grown on me over time. It is nice. I like it. Wow, my reviewing skills are second to none right now. (My apologies, it’s gone midnight, but I’m determined to get this post finished today, it’s been far too long in the making.) This song often catches me out because the little twinkle at the very beginning sounds a lot like Wuthering Heights. Ramble Rating: 8/10

11) Them Heavy People ‘I must work on my mind / For now I realize / Everyone of us has a heaven inside’ I think Them Heavy People is all about potential we all hold within us. This is something that I think many people forget, or lack confidence in, as I’ve always believed that half of succeeding at something is believing that you can do it. The song is also a bop. Ramble Rating: 8/10

12) Room for the Life ‘Like it or not, we were built tough / Because we’re woman’ I’m not entirely sure whether this song is a celebration of motherhood or of womanhood in general, but, regardless, it has a lovely, jaunty, reggae-ish beat, and stands out from the rest of the album, sound-wise. I recall a recent episode of BBC’s Pointless where one of the three questions in the final round was to try to guess a song from The Kick Inside that could be pointless (meaning that none of the people in the ‘survey’ had said it), and the lady answering seemed to have merged Room for the Life with Them Heavy People, resulting her answering with ‘Heavy Woman’. Oh how I did chuckle. Besides that, Room for the Life makes me feel that, although I don’t particularly want to have a baby, it’s nice to know that I can. Ramble Rating: 7/10

13) The Kick Inside ‘Your sister I was born. / You must lose me like an arrow, / Shot into the killer storm.’ And last, but certainly not least, we come to the title track, The Kick Inside. The first time I listened to this track, I thought it was all well and good, until I heard ‘Your sister I was born’, and, well, I was rather disturbed and taken aback. I knew there must have been some interesting meaning behind the song’s incestuous tone, so I headed straight to the Kate Bush Encyclopedia, to find that it was inspired by a traditional folk song called Lucy Wan. This is probably the saddest song on the album, as it is essentially a suicide note written by a woman who has become pregnant with her brother’s baby and feels she must kill herself to save his reputation. Ramble Rating: 10/10

And on that light-hearted note, we have reached the end of this journey. Don’t expect my future reviews to be quite this long. It is only because this is one of my favourite albums that I had so much to say about it. Do let me know what you think of The Kick Inside, and please leave any requests for music you would like me to review next. :)

OVERALL RAMBLE RATING FOR ‘THE KICK INSIDE’ ALBUM: 8.2/10

[emmaruthrundlesh]

Emma Ruth Rundle Interview // Rock’n’Roll Journalist

(via Rock’n’Roll Journalist) “Dark” singer-songwriter is a term which deserves an official registration based on the modern wave of talented female artists. Next to Chelsea Wolfe, there is also Emma Ruth Rundle rapidly building her space on the market. Her captivating voice and an amazing taste for cold melodies are more than addictive. If you look at her list of favorite albums, the magic of her sound suddenly makes more sense. In addition we also spoke about her gear, challenges on a tour and beauties of Prague, which is also on her current European tour schedule on 18th of October.

Would like to give some introduction to your list?

This is not so much a list of my favorite albums of all time. Much of these are rather pieces I return to over and over as they are especially significant for me.

40 Watt Sun – The Inside Room (2011)

One of my all time favorite albums, English 3 piece, 40 Watt Sun, combine a slower, heavy guitar driven washes over which Patrick Walker literally pours his heart out. HIs lyrics and voice are incredibly eloquent and beautiful. The songs are, at times, in the 8 plus minute category so there is plenty of time to be reeled into their world and taken through Walker’s emotional landscapes. One of my biggest influences in the last few years.

Kate Bush – The Sensual World (1989)

A longstanding favorite and go to listen for me. Kate Bush has a few phases and different sounding albums but there is always her at the core. I think The Sensual World has become the diamond album in her discography, for me, because of the song Love and the Anger. It’s one of the catchiest and uplifting songs I’ve ever heard. Just watch the video and see Kate dancing at the end…How can you not fall in love? Also some really tasteful world influence and killer guitar by David Gilmour on Rocket’s Tale. Love it all the way through.

Smashing Pumpkins – Siamese Dream (1993)

It’s very frustrating to wake up and look at the internet these days only to be greeted by any number of people and music blogs STILL making fun of Billy Corgan – not going to lie, it bums me out and makes me feel sad for a world of critics who can’t take it the simple fact that Billy has recorded THE BEST guitar tone of all time and he did so on Siamese Dream. The songwriting is brilliant and this is really an album that takes you to a place, especially by the time you reach Silverfuck. Sure, I jump over the hits – I don’t need to hear Today every time I want to enjoy this masterpiece but if you’re somehow not familiar take the whole trip and revel in what I think is some of the most important guitar playing of the 90’s.

James Blake – Self Titled (2011)

A groundbreaking beauty of an album. James Blake managed to write and produce this minimal pop R and B (with strong classical influences) that won him the Mercury Prize. There is nothing but pure perfection and genius on this record. Even the cover art is elegant and humble in a way. I guess there is some sense of humility in Blake’s writing that takes me in even further and I become invested in all his repetitive and disintegrated lines, waiting for them to break or modulate in any number of ways as they do on this album.

Cloakroom – Time Well (2018)

I came to know Cloakroom just by association. They had done a lot of touring with label mates Russian Circles as well as some other folks I know. I sort of disregarded this band for a time – not sure why – but when Time Well came out on Relapse earlier this year, I was completely head over heals in love with these Midwestern boys. The guitar playing and textures as well as the cleverly timed riffs (for lack of a better word, this band isn’t metal at all but heavy in a deferent way) and the bonus of Doyle’s of introspective vocal has won them a very special place in my heart and headphones.

Brian Eno – Thursday Afternoon (1985)

In his 11th studio album, Eno has fully mastered the very new world he himself pioneered and invented: Ambient music. Thursday Afternoon is just one long daydream of a song with nothing but the babbling of the synthesized (or whatever he’s employed on this) brook. Nothing “happens” on this album. There is no break or moment of great change or rhythm even… it’s just the most relaxing music on Earth which is why I find my way back to it so often. Pure peace streamed right from the source of new sound.

I’m not an ethnomusicologist

Tori Amos – Boys for Pele (1996)

Tori Amos peaked, for me, on this 18 track album. It was her first time self producing as well and there is something so fierce and desperate in her lyrics and voice. While generally regarded as a singer songwriter, which I think conjures up a picture of a subdued character sitting in a coffee shop somewhere, Tori is really more of a badass and this album rocks it ways though piano and harpsichord driven tunes. I love everything about how the record was recorded and sounds as well. Even the music videos that came from this album are great. If you don’t know, you should.

Earth – Hex; Or Printing the Infernal Method (2005)

I am not sure when I first became aware of the legendary instrumental band Earth but I am sure it was later on in life than for some other more tuned in people. Hex is an album that I listened to a lot while on tour and desperately in need of refuge from the chaos of being trapped with so many other people traveling across the globe. Hex is like a soundtrack and works incredibly well for someone who’s trapped staring out a window, avoiding conversations for most of the day. If there was ever a time to describe something as dusty sounding, this is it. Having really loved the Neil Young soundtrack to Dead Man – Hex felt like a sister album to me or in that world. It has a special ability to take you into a barren landscape and push out all your youngness which is so needed!

The Body – No One Deserves Happiness (2016)

This record came into my life at a time of physiologically shattering life change and a very hot summer in LA. Most would describe The Body and an “experimental” or harsh noise (at times) project. No One Deserves Happiness introduces female forward singing over the backdrop of the bands soul reaping sounds. Chip’s hollow screams have manifested a truly horrific creature in my mind. There is a blend of classical reverence and choral singing within The Body’s noise land and it turns on a part of my brain while listening. I feel comforted by this album somehow.

Stars Of The Lid – And Their Refinement Of The Decline (2007)

Another instrumental masterpiece – SOTL also have classical inclinations or leanings or is this contemporary classical music? I’m not an ethnomusicologist. Washes of treated instruments grip your xanaxed out sandbag body and drag you slowly and mournfully in waves under a pink ocean of wonder and obliteration of the self. I have fallen asleep in my most anxiety ridden times to this album as it swallows you like no other can.

In the heart of Europe

In late October you will be coming to Prague to very intimate club called 007. Did you ever have a chance to properly walk around Prague?

I never played a solo show in Prague, but I performed here with my previous bands already. Every time I made sure, me and my band mates have enough time to check the city. It was amazing every time and I just can’t wait to come again. I visited Prague the last time in 2010 and our tour manager was Tomáš Zakopal, who was local, so he prepared a beautiful commented tour for us.

Could you please present to us your collection of guitars? From the most recent live footages I see you are a big fan of Fender guitars and especially a model called Coronado II.

This piece actually belongs to Evan Patterson, who plays guitar in my band as well in my support band Jaye Jayle. Guitar #1 in my collection is a classic mahogany piece from Cordoba. There is also one from Chinese brand Blueridge, inspired by OM model OM from Martin…(I’m sorry, I am little bit sick)… Within electric guitars my most favorite is standard Gibson SG. It was quite cheap second hand acquisition in one music store. Another piece is Fender Baritone Jaguar special HH. Then there is Fender Stratocaster. I can’t remember the exact model, but it’s quite unique as it has two humbuckers. Next to that I also have one white model from Guild. Longer I play I realize it is very important for me to have two humbuckers within electric guitars. And finally there is one really crappy SG, which I would really like to get rid of, as it is badly made. (Laugh)

Some preferences within microphones?

I use BLUE enCORE 200 the most. Probably as it was a gift. I like its sound, as it can work very well with mids and highs. Another reason is very practical. I realized I get sick more often if I use in-house microphones. If I use my own microphone, I have bigger chances to stay well.

Life on a tour

I am sorry, you don’t feel well. Do you think it’s also because of air conditioners during this years’ crazy summer season?

Not sure to be honest. I was just getting back from a European tour and I must have caught something on a plain.

Longer I play I realize it is very important for me to have two humbuckers within electric guitars

How are you trying to stay in a good shape on a tour? There is a European tour coming up during fall and that’s quite challenging season for immunity.

One can just do maximum and hope. If I can, I try to stay warm and eat plenty of hot meals. I try to rest, as much as I can and get plenty of sleep. But it’s not always that easy, where there is so much drinking and everything else which belongs to a tour life. It is practically a miracle if you survive a tour without any harm.

Is there some European location, which you really look forward to visit during upcoming European tour? It doesn’t necessarily have to be Prague…

It’s funny, as everybody in the team looks forward for the Prague the most. Evan is practically obsessed with Prague and I just can’t wait to meet friends, which I haven’t seen for years. I am also looking forward to see Porto, Lisbon and also Madrid, as I’ve never been to Spain. In general I love to visit well known places as well as completely new locations.

[gigsoupmusic]

GIGsoup Interviews Holiday Music

Formed at the back end of 2014 by multi-instrumentalist Mike Hlady, the Austin-via-Boston outfit Holiday Music has its origin in the Massachusetts indie scene of the late 2000's. Notable amongst this scene were Magic Magic, hailed at the time as one of the 50 best new bands in America by the Boston Phoenix. Despite receiving air play on BBC Radio 1 and having their self-titled debut distributed by legendary UK indie label Rough Trade, strangely and disappointingly a record deal didn't follow suit. After a few more releases and the creation of Hanging Horse Studio, Magic Magic faded quietly into the background and the newly formed Holiday Music came to the fore. Their debut album Atlantis arrived soon after their formation in 2014, and this was quickly followed a year later by Brain Waves Are Real? via Disposable America. Spending a little longer on their third album, John Wayne Syndrome was released in 2017. After another three year gap, their latest and fourth album Certified Ailments arrived at the end of February via Super Wimpy Punch. It was certainly time well spend as it’s their best work to date. Clocking in at under 30 minutes, its eight tracks are packed with a catchy and energetic blend of lo-fi, alt-rock, garage punk and a hint of psychedelia. GIGsoup recently caught up with Holiday Music vocalist and guitarist Mike Hlady to ask him a few questions about their latest album and how life under lockdown has been so far. First of all, congratulations on the new album. Can tell us a little bit about the making of Certified Ailments and inspirations behind it? The title is based on things that are bad for you. Things that make you feel good, but might not be good for you. I started recording the year before last doing demos. Then, last year I brought a couple songs to a friend of mine and really focused on overdubbing and finalizing everything. Mixing was a collaborative effort between myself, Evan Wynn and Daniel McNeill. We got the single ‘Expire Medicine’ mastered by the legendary Greg Calbi. It’s cool all the nice feedback we’ve gotten from everyone on the album. I do think this one finally represents ‘our sound’.  http://youtu.be/aX8JQ_-C7KE Did you get to tour the new album much before venues started locking down? We didn’t. It seemed to come at such a poor time. I had been wanting to put this album out for a while, and finally after coordinating with Super Wimpy Punch we decided to on February.  We had an album release show on the day it came out with our friends in Spirit Ghost, and then that was that. We had a bunch of shows set up for SXSW with lots of cool folks from out of town. It was a bummer because we haven’t seen some of the bands in a long time. How has life under lockdown been for you so far? How have you been occupying yourself? What music have you been listening to? Yeah, going a little crazy but trying to remain a stone statue as I usually do. Reading more, working on mixing music for friends, and video gaming. I watched Pink Floyd live from Pompeii on YouTube and it was insane. It’s awesome having the time to do that. I'm trying to let other stuff inspire me so making music comes more naturally. Right now, while writing this I'm listening to 'Venus in Furs' by Velvet Underground and 'Hurdy Gurdy Man' by Donovan.  Some bands new and old I’ve been listening to are Guided by Voices, Minutemen, Pixies, Disq, Broadcast, Bowie, Thin Lizzy, Kate Bush, Unicorns, Cocteau Twins, Pearl Jam, Modest Mouse, Stephen Malkmus and Roxy Music.  More artists have been opting for cassette only releases in recent years, what was your thinking behind putting Certified Ailments on tape as opposed to vinyl or CD? I actually always think to do vinyl but it’s so expensive. Vinyl is for the real collectors. CD is fantastic too. I’m all about CD’s but CD players are harder to come by I think. Tapes are cool and as I’ve collected more myself I think they are efficient and get the job done. They are definitely a desirable medium. http://youtube.com/watch?v=z6CV65Jsxqk I saw that you were involved in the creation of Hanging Horse Studio with some friends a few years back. Is it still operating? It’s not. It disbanded and everyone shifted more to doing their own thing. Which is cool. There ore recording studios or home setups all over now. Also, more music coming out from everybody. I did the first two Holiday Music albums there which you can definitely hear it in them. Brainwaves Are Real? especially. Hanging Horse was initially more of a recording studio rehearsal space for Magic Magic. Those were some really amazing times. Being a big fan of your work with Magic Magic I have to ask, what happened with the band? Are you all still in touch? Your debut was one of the best albums of the 2000’s for me personally, and among the great ‘lost’ records of my lifetime. It slowly fizzled out with time I guess. I’ve learned that time is more crucial than you think with art or a band. John and I still will work on stuff all the time to this day. All of us do still collaborate actually, under whatever moniker. It doesn’t matter what, it’s just the creation process everyone needs in their life. John and I work really well together at creating. When we are all together with Brendan and Dylan, it all clicks again too. Over time, we all just got pulled in different directions. We did a new Magic Magic record a couple years ago but never really finished it. Maybe it’ll see the surface at some point. How do you think the virus will affect touring and the live music scene when things gradually start to open back up again? I’m not sure, but I’m hoping we stay closed for a while to be safe. It’s not easy to say that because I work in live music. I want to play out in the world again dearly but I guess we’ll have to stick with livestreams for now. I’m doing a livestream on Monday 4th May via Super Wimpy Punch which will be on their Instagram (3:30pm CST / 4:30pm EST). You can follow Holiday Music on Bandcamp, Facebook, Twitter and Instagram. Their latest album Certified Ailments is available via Super Wimpy Punch. Read the full article

[avaliveradio]

9.30 New Music Monday Release radar with Jacqueline Jax

When an artist creates music, it’s driven from passion. When done effectively, that energy transfers to the listener creating an emotional response. Listening to new music is an experience. Explore some exciting new music from creators all over the world recently discovered by our host Jacqueline Jax as she searches the far corners of the globe for talented songwriters and music creators who are telling their truth to bring the listener a unique experience.  

SUBSCRIBE to our broadcast here: www.wavve.link/avaliveradio

Listen to the Show: https://anchor.fm/ava-live-radio/episodes/9-30-New-Music-Monday-Release-radar-with-Jacqueline-Jax-e5mkhg

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Featured Artist:

D’Z:

Artist: Kerry Kathleen

New Release: “Reverie” 3 track EP

Genre: Indie pop

Located in: Santa Rosa, CA

Reverie is about a dream state, and being able to come alive and be yourself in the nighttime . This song will lift people up and make you feel sexy. This EP has just released (September 27th 2019) and is a milestone for me. I’m so proud to finally be able to release these songs to the world. Reverie, Homegirl, Bright and Right back are all better than I could have imagined. The music..

Music is able to get us out of our funks, lift us up, and remind us that life is beautiful. It has been a constant in my life and it is a creative outlet and it makes me feel so happy and can be healing after a stressful day. My lyrics are always from the heart and I believe that rawness from true vocals is the most powerful part of songwriting. For me, It has to come from my own experiences.

LINKS:  Spotify: https://open.spotify.com/artist/54RpjtwYQn71QiYVdQaCjQ?si=59ASuxu5RWmxTkROW5_-cg https://music.apple.com/us/playlist/reverie-album/pl.u-e98lkVlTZ5rPdm Twitter @kerrykathleenn Facebook @https://www.facebook.com/KerryKatheen Instagram @kerrykathleenmusic

Artist: Beautiful Things

New Release: Hey Hey Hey (Electric Mix)

Genre: Alternative Rock

Sounds like: Garbage, Placebo, Curve

Located in: Los Angeles, CA

Creating music has also been a coping mechanism for me when life gets overwhelming. It’s an outlet for all the complex feelings inside my heart.

Our band creates ethereal pop-rock with deeply personal lyrics. We are very influenced by 80s alternative artists like The Cure, Peter Murphy, and Kate Bush. 

I wrote this song about my experiences with the music industry, looking back to a time when I was much younger and more trusting. I let people guide me and represent me who didn’t have my best interests at heart – only their own. I learned so much from these experiences about human nature which ultimately strengthened me and made me a smarter, wiser person. 

I wanted this song to be empowering, hence the lyric “I won’t be a victim, no never again.” I’ve since chosen the people I surround myself within all areas of my life very carefully and have learned to trust my intuition. It’s made all the difference. Our new Dream World (Revisited) EP is made up of re-imagined songs from the first Beautiful Things album released 10 years ago, called just Dream World. I became curious about what could happen creatively if I let fresh ears take some of these songs apart and put them back together again in a new way. We were inspired to re-do this song from its original version because we thought it would sound great with more electronics and heavier guitars. Many of the ideas on this one came from our bass player Billy who spent lots of time in his studio experimenting with new sounds for it.

The music...

We used more electronic elements and atmospheric sounds than before, which our band loves to experiment with, and we hope to incorporate more sounds like these in our future releases.

Creating music is something our band feels compelled to do because music is very fulfilling for us. I personally get inspired just from listening to other musicians, past and present. There's nothing like the feeling you get when your mind is blown by a melody, guitar chord, lyric, performance, etc. That feeling stirs my soul and compels me to keep creating even when it seems like no one is listening or no one cares. As a musician, you always hope that something you create will conjure those magical feelings in others.

What’s next��� We are working on a new single and will be making a video to promote it.

LINKS:  https://open.spotify.com/track/0G9QeybSCD1SYCIpr6vrA6 https://twitter.com/officialthings https://www.facebook.com/beautifulthingsmusic https://www.instagram.com/beautifulthingsmusic

Artist: Ugly Melon

New Release:  Rainbow in the Dark

Genre: Hard rock / Metal /Rock /

Sounds like: Black Sabbath / Disturbed / Shinedown

Located in: Toronto Ontario Canada

Ugly Melon comes from an era of classic hard rock from the 70s Black Sabbath to today modern edge of Disturbed. We mix yesterday's writing style with today's modern sound. 'Rainbow in the dark' is a song written by Ronnie James Dio back in 1983 from the Holy Diver album, the Original song was an up yet simple song. 

We put our Ugly Melon twist to it and made the song a more Modern ballad anthem. 

The Song is as relevant today as it was yesterday. The feeling of being alone and rejected but your really a rainbow in the dark. When doing such an epic song like this that was a huge hit for Dio, you've got to make sure you don't butcher the song. 

When I was thinking of the arrangement I was thinking about how I might make it different, Stairway to Heaven came on the radio and that was it. 

The Music we create comes first off doing the music we want to do and not thinking about if it's going to get signed or get airplay. We want to be real and say here it is to enjoy. Our new album 'Just a Man' is a piece of work we are proud of and love hearing it every time.  

Being real with your music is key. People will hear that and climb aboard for the ride to become fans and spread the word. 

Music is medicine for the soul, the escape from reality for a while, the vision of a live epic performance with visuals on a big screen making it a rock concert to remember that's what inspires us.

Right now we are...

Ugly Melon will be releasing a video soon probably on Halloween song called 'If You're Wrong'. A song about questioning and challenging religious beliefs and to be open-minded to others beliefs. 

LINKS:  https://www.reverbnation.com/uglymelon/song/30535606-rainbow-in-the-dark https://open.spotify.com/track/6jkS0MMp6jl45iyjO3xNE5?si=6aXL5FW2QrWHm_ofcGZ7Iw https://twitter.com/Ugly_Melon https://www.facebook.com/uglymelon Instagram @Ugly_Melon

Artist: Dream Eternal Bliss

New Release: Circling

Genre: alternative rock

Sounds like: Berlin, The Cardigans, Garbage, Duran Duran

Located in: Franklin Lakes, NJ

This song is a moody ballad about your life being stuck in a holding pattern. Challenges we face tend to provide great songwriting material when you want to craft truly personal and heartfelt lyrics. If you’ve ever felt like time is passing you by and you’re sort of immobilized by your situation, powerless to take control and make a change, whether it’s a relationship or work or something else, that’s exactly where “Circling" came from. I find that the happiest times in my life are the most challenging times in which to write personal lyrics.

This song encapsulates a variety of musical influences. It starts with a synth-meets-U2 vibe over some electronic percussion that evolves into something dark and somber, and then in the second half, big drums and heavy guitar kick in.

Right now we are...

shooting a video for this song! And we're beginning our next writing phase, continuing to evolve and refine our sound. I think people will be surprised by the evolution of our sound moving forward as we embrace more of our rock and guitar influences in some of the new material. No specific date is set yet for recording new material, but we’ll start to share some of it at live shows in late 2019.

LINKS:

https://www.reverbnation.com/dreameternalbliss/song/30421617-circling https://open.spotify.com/track/1cqQihDUv9ZInj9Qpeh9jh https://www.facebook.com/dreameternalbliss https://www.instagram.com/dreameternalbliss

https://open.spotify.com/track/1cqQihDUv9ZInj9Qpeh9jh?si=lYo_C_owSxKfpwC1p0h3og

Artist: Chanidu

New Release: Make a better world

Genre: folk pop rock

Sounds like: Cat Stevens, Peter Gabriel, Peter Tosh, Drake.

Located in: Edison, New Jersey USA

'Make a better world' is about developing affiliation and affinity towards others who do not have the same privileges as you do. Treating people the right way you will want to be treated. Caring for and making appropriate changes that can provide a good environment for everyone in the world.

The music we are creating is...

I am always magnetized to this love ambition which I think no one can find unless they have it in their heart. It must be real, cannot be exploited or taken advantage of. When the world starts thinking in the same direction of purpose, the world will be close to achieving happiness and then peace.

I do this because...

Songwriting is within you and it is surrounded by influences gathered from those you listened to and admired. Today's love and hate can be expressed with music. Feelings can also be expressed in terms of empathy or observation. Having the ability to do this anytime, any day is awesome.

Right now we are...

I would appreciate it if people can take the time to listen to all the songs on my current album and leave comments. I will be back in the studios in the first week of October to start recording a single.

LINKS:  Facebook.com/chanidumusic

https://www.facebook.com/chanidu005 https://www.instagram.com/chanidu.music

https://www.instagram.com/Chanidu1 https://twitter.com/chanidu005 https://www.reverbnation.com/chanidu Reverbnation.com/Chanidu005  Spotify link: https://open.spotify.com/artist/2CaxmqQwziSBeaZ9CTwAb5

Artist: Cabela and Schmitt

New Release: Into Your Hands

Genre: Contemporary Christian

Sounds like: : In particular or specifically... I can't think of any

Located in: : Colorado and Nebraska USA

https://open.spotify.com/track/4skCWnF5cvZgEkwpe4MbyM?si=7joZAQ1FRVaRC5l2KQ6a9A

‘Into Your Hands’ speaks to the struggle within and needing that power and love to help you get back on your feet when everything you do turns into a disaster. He takes his loving hands and brings you out of misery and into happiness. Who wouldn't love to have that kind of person in your life. 

The music we are creating is important because every song we are given to relate is a gift to be shared. A musician never knows where the music comes from, it just comes and it's their obligation to pass it on. 

We do this because it is inside us, it's a part of who we are, it's as much us as any other part of our being. When inspirations come to you in the form of music at any time in any situation, at any given time... it is a gift worth sharing with others.

Right now we are...

We're excited about our new album DANCING SHOES that will officially be released on the 1st of October.

LINKS:  http://www.cabelaandschmitt.com https://open.spotify.com/track/4skCWnF5cvZgEkwpe4MbyM?si=eyYw5yigSQK47AJmxU8-jA @CabelaSchmitt https://www.facebook.com/cabelaschmittmusic https://www.instagram.com/cabelaandschmitt

Artist: TODD BARROW

New Release: Hell and Back

Genre: Country, Traditional Country

Sounds like: Hank Williams, Johnny Paycheck, Charley Pride, George Jones

Located in: Burleson Texas, USA

This song is...

a real country song about real-life situations. The way the musicians play on the track is spectacular. They pour their hearts into this tune because the message is serious with a twist of humor. The song is about when a man cheats on a woman then later regrets it. Don't go down that path, my friends!!!

The music we are creating is...

the direction of traditional country and back to the roots of artists like Patsy Cline, Johnny Cash even some blues like BB King. Trying to pave the way for the old country in a new format! More challenging works of art that have longevity in the music industry.

I do this because...

 #1 I was called to do it. I've tried to give it up several times but it seems to hunt me down. I enjoy writing a song with a theme in mind kind of like putting together a movie but in 3 minutes maybe more. Creating something that is not there is fascinating to me. Taking an idea from the brain with notes and casting out there for the public to enjoy!!! Most of all its fun. Performing the songs before an audience is intoxicating!

The future... 

I'm currently working on a new album/EP for 2020. Very excited to get some fresh country music available for my fans. Currently doing gigs in Texas but recently played at the George Jones in Nashville. Trying to branch out in my touring even possibly UK & Italy.

LINKS:  https://open.spotify.com/track/5X14W5OuEZxmPqUtpQxloJ?si=QRGLT9MvS9--Q3FmVknxcA http://www.twitter.com/ToddBarrowMusic  http://www.facebook.com/ToddBarrowMusic  http://www.instagram.com/ToddBarrowMusic1

[shemakesmusic-uk]

INTERVIEW: Katie Von Schleicher.

Fresh off the back of a UK tour alongside Aldous Harding, Katie Von Schleicher recently premiered her latest single, 'Sell It Back' which is taken from her self-produced and co-engineered debut full-length album, Shitty Hits, out July 28 via Full Time Hobby, where Von Schleicher confronts feelings of isolation and powerlessness. She is not tackling grandiosity, but mediocrity; the struggle of being deeply flawed and unmistakably human.

Katie Von Schleicher’s previous release Bleaksploitation was an accident, years in the making. While interning at Ba Da Bing Records, owner Ben Goldberg suggested that she record a cassette for the label to release. It could be anything, demos or a live performance, but she took it a bit more seriously than Goldberg intended. The result was her first self-produced and engineered effort, a strange, hazy, pop-laden tape. Doing her own press under a pseudonym and referring to it as an “album,” Von Schleicher garnered enough attention for Bleaksploitation to see it released on vinyl in the Spring of 2016.

Now on her full-length official debut release, Von Schleicher strikes again on the magic that comes from her warped and uncompromising sound. Shitty Hits channels the bright, sunny radio burners of the 1970’s - songs you drive to, carefree, and songs you can cry to.

We were lucky enough to have a chat with Katie about Shitty Hits, touring, who she would love to collaborate with and more. Check the interview out below.

So far we've heard the brilliant songs 'Life's A Lie', 'Paranoia' and 'Sell It Back' from your upcoming official debut LP Shitty Hits. Like your previous "accidental" release Bleaksploitation, Shitty Hits was home recorded but in what ways does it differ from Bleaksploitation? How do you think you have grown as an artist thus far?

"Shitty Hits comes from the same impetus as Bleaksploitation and is meant to lodge deeply somewhere in the region of one’s chest. Maybe you could call it ‘finding my voice,’ but it’s the idea of taking what I love, music that already exists, and trying to locate a gap, what’s missing for me, and fill it. I’m obsessed with deeply melodic and transportational music: Randy Newman, Elliott Smith, Carole King, The Beatles, Kate Bush, Arthur Russell, and a ton of lesser known pillars. So I always begin with that in mind. But production wise, I’m aiming for those songs to be presented with a deeply resonating and heavy, unapologetic dose of atmosphere and feeling. Basic, essential rhythms, but unplaceable, distorted. It’s hard to put into words! Thematically, Shitty Hits ventures inward whereas Bleaksploitation was less personal and intimate. And I felt far more ambitious in its sonic scope and fidelity. Bleak was done to a four-track tape recorder, and its possibilities were finite. It was a way to get my foot in the door. Shitty Hits has 40 tracks on a song, it was an open-ended challenge to myself."

Is there a particular reason why you've decided to tape-record your music and do you think this will always be your method of choice?

"I think it will continue as an element, at least. With this record we began with 8 tracks on each song to cassette tape, then transferred to digital. It’s not necessary, but I love putting drums and bass to tape. I’m prone to ritualizing this process, which can be so difficult to approach at its inception. The psychological importance of tape is that it adds an immediacy to each performance. Tape or not, I believe in doing a whole performance of a song vocally and instrumentally, rather than patching myself in on the second verse or something. Maybe that’s just for me, but I like it."

Shitty HIts is about you confronting feelings of isolation and powerlessness. Where did these feelings stem from and how important was it for you to be able to express these emotions through music?

"They come from observations I’ve made about myself and how I experience the world. When I get down, it feels like a loss of perspective. I’m fighting to have a sense of self again, which is also mirrored in the process of making a record, the self-doubt it incurs. It feels perverse to discuss depression sometimes, and of course it has its place, but it felt fairly important to bring it up in the music, if anywhere. These are the feelings I had while making the record, the feelings I had about making it. I was also thinking about the legacy of popular song, how there are so many brilliant tunes about heartbreak and pain, but rarely about its less poetic minutiae. So I tried to write songs in major keys, exuberant ones, but infuse them with the small details of feeling, a happy perversion."

The LP was produced and co-engineered by yourself. How important is it to you to have complete control over your music? What was your favourite part recording the album?

"It’s important to have control in what still feels like this gestation period I’m in. I’m new to this. Hopefully someday I’ll have more confidence to assert myself in company because I would love to collaborate more. My favorite parts are always the happy accidents. If I’m alone those happen more easily because I forget my body as well as the rules of being social in a group environment.  The recording process heavily shaped the outcome of a song like 'Midsummer,' because I took a strange guitar solo and then impulsively, during a take, sang over that guitar solo, sang a new part to the song. And it meant that leaving the first chorus the song takes off into a new intensity I hadn’t planned. The song 'Soon' was the most bang-our-heads-against-the-wall experience, we were lost on how to present it. I’m not even sure how this happened, but during basics we made the song a bit long, with extra sections. When I was finishing the record alone, I decided to have this melodic saxophone part that makes up the whole second half of the song. It was just a part I sang over it during a take. The moments I can’t even remember that yielded positive results are why I do it."

What has been your biggest challenge as an independent artist and how did you overcome that challenge? What advice might you have for other artist's out there that aim to have complete creative control over their musical output?

"The biggest obstacle has been my bias toward myself. I didn’t know what most pedals did, I didn’t feel like I could master these things that men around me had mastered at age 14, I felt stupid asking questions like “what is compression?” I didn’t listen to cool music in high school, I only got into what now moves me most deeply in college, so I felt like I was too late to the party, or that if I hadn’t found the White Album at age ten, I wasn’t authentically allowed to take part in its legacy. I say my bias toward myself, because I don’t want to make this about gender roles that have been placed on me, since on most occasions they are not. But sometimes I witness guys playing together and I see a belonging that I never quite felt, like this is a destiny. I didn’t envision myself producing albums when I was a kid, I didn’t think “I want to be Brian Eno.” Anyway, my advice would be to forget imposed regulations and do whatever the fuck you want, the scarier the better, especially if you’re of a gender, orientation or race that wasn’t represented by The Band. It’s never too late to take the reins, and anyone can do it."

We think that is excellent advice! You've recently returned from a UK tour with brilliant Aldous Harding. What was that experience like?

"It was incredible. First of all I didn’t have to drive, there was a tour manager. I’ve never experienced that before, and let me tell you, it’s the lap of luxury. Aldous Harding is the most formidable musician I’ve ever opened for, and it presented quite a challenge in that respect. I fell in love with London."

London is a wonderful place! What is currently your favourite song to perform from the new album?

"My favorite songs to play now are 'Midsummer' and 'Nothing.'"

Are there any new artist's that you're listening to right now that you think we should check out? If you had the chance to collaborate with another artist/band who would it be and why?

"I’m sure you’ve checked them out already! Aldous Harding, Andy Shauf, Big Thief. My labelmates Cross Record, Tiny Hazard and David Nance blow me away, and don’t have as much visibility as the aforementioned folks. Right now I’d like to collaborate with Zannie Owens, whose band Really Big Pinecone is based here, and Nate Mendelsohn, who has a band called Market. I’d like to try and do some random side project. I’d also love to produce someone else’s album. As far as big famous folks, uh, Randy Newman. Let’s make a fuzzed out Randy Newman album."

Is there anything you like to do outside of music that contributes to your musicality? For example a hobby you turn to in order to rejuvenate your creativity?

"I do graphic design and terrible painting. Used to write a lot of poetry but haven’t lately. I read a bit. Mostly I just get angry about politics and produce nothing with effect on that front."

Finally, what has been the best part of your journey as an artist so far and what are you looking forward to in the future?

"I’m surprised by the journey. That might be the best part. I’m so happy I’ve matched my desire to write songs with a desire to turn them, recorded, into something else entirely. I look forward to collaboration, to the next record, and hopefully touring the hell out of this one."

Shitty Hits is out July 28 via Full Time Hobby. Pre-order the album HERE.

[katechattingshit]

Oxymoron - or just a moron.

Hi, my name is Kate and I am useless with keeping up with certain projects because my brain is everywhere and fancy myself Wonder Woman when I am not feeling like the biggest piece of shit in the world. So I take on about 50 projects at once when I’m manic, then when the darkness ensues (as it so often does) the projects stop… Sorry it’s been so long.

*insert here stereotypical group therapy session response “Hi Kate”*

I haven’t written a blog post, or anything for that matter in a while. Why is this? Well, for various reasons I guess, firstly like stated above I am useless. Along with that I have been focusing more on my art than my writing as I have found that more therapeutic recently.

So, let’s get up to speed on the last lot of months - it’s been a doozy kids. Let’s just not beat around the bush, straight up, to the point, cut to the chase - the last 6 months have been fucking shit. There, that’s pretty much the jist of it folks. It’s been a blur of nothing, medications, medical visits, tears, booze, drawing, stitching, loneliness and Netflix.

Jump cut back to October, this was really the climax… actually I don’t want to use that word because I like to associate it with good feelings, lets say it was the pinnacle of my mental breakdown. I wanted it all to go away. I was the most certain of I have ever been that I did not want to continue on this roller coaster journey we call life. I genuinely believed, and still to some extent believe, that Friday 7th October 2016 was my time to go. I should have died. I was calm, peaceful, the most calm and peaceful I have probably ever felt and will probably ever feel. I was done. I was ready. Ready for nothing. Pitch black. The bright light. The pearly white gates and show Thomas my hands - if he asks. The burning flames. God. Satan. Jesus. Morgan Freeman. Whoopi Goldberg. David Bowie. Whatever/whoever was waiting for me. I was ready.

I overdosed on 54 500mg of paracetamol washed down with Jose Cuervo. I wrote a very short note on a pink post-it telling my family not to feel sad, that was going to a better place, that I was finally happy. I went back up to my bedroom, put on my favourite episode of Gilmore Girls and went to sleep.

It has been 4 months since this night and every single day since I have struggled with the fact I did not pass away in my sleep after I peacefully, happily closed my eyes. I struggle with this for a lot reasons, some illogically and I can’t really explain to those of you who have never experienced it themselves (but of course being forever verbal diarrhoea stricken - I’ll try). I guess the more help I get the happier I am that I am still alive. I’m glad that I wasn’t leaving my family and friends with all that pain - awful pain I have known myself after losing someone I once loved to suicide. I’m grateful to some extent that I have the potential/hope to live a happy fulfilled life one day. All these things are great to the average soul, it’s a miracle, a blessing I am still walking on this earth. Yet I still wake up most days, remembering that feeling I had when I took those pills and went to bed. I yearn for that peaceful contentedness. I feel robbed of what I believed was my time. It’s a very conflicting head space to be in, I battle with my own thoughts everyday. I’m glad I am still here, yet I still wish I wasn’t. I am a walking oxymoron - or just a moron.

Since leaving hospital, I have seen what feels like 100s of medical ‘professionals’, had a smorgasbord of medications, been put on waiting lists, and spent many a day and night alone with my dark sad thoughts with no real light at the end of the tunnel or real professional guidance of yet. The NHS is a great service - don’t get me wrong, we as a nation are very lucky to have such a service for free. They’ve be amazing with me with various health issues over the last decade, but the mental health services are underfunded and slow. I am yet to find the right meds - which I guess isn’t the NHS’ fault that’s just because it’s a game of drug Russian roulette, but I am yet to have a proper therapist and course of treatment and could have to wait up to a year to receive these.

This leaves me in a little bit of a tizzy. I am sitting with no real ball rolling to get me to a point where I can again go back to functioning like a ‘normal’ human being (let’s be frank I wasn’t exactly normal before my mental health issues) I NEED HELP. SOME POINT. SOON. PLEASE. I like to trick myself and others into thinking I’m fucking fabulous. Which I can really be, but I need the fudging help to get my life back on course again. However, right now I am sad, tired and exhausted of dead ends and let downs.

So folks, now we/I wait. Or begrudgely my family and I spend a fuck ton of money on going to a private rehab (Pffft, like I’m some coked up celeb and not the loser from Ashford I am in reality, just call me Britney, bitch) but it’s obscene and almost criminal how much they charge, but if it is faster and get’s me better, is it worth the money? At the end of the day it’s just money. What better do I have to spend it on than my own health and sanity?!   (…well pizza, gig tickets, wine, clothes and art supplies- duh.)

No, but seriously though… This makes my head and soul hurt. The world we live in screws with my head. What to do? What to do?! To pay or not to pay?! That is the question. Do I have the time, patience and strength to wait?!

Right now though, I wait. Make pro/con lists. Take the medication I’m currently pumping into my body (at least this one isn’t making me fat like the last). Answer the same questions I have for the last 8 months to the people are paid to listen to me whinge and whine. And avidly avoid the world by watching Gilmore Girls, Buffy The Vampire Slayer, Girls and Sex and the City over and over because they are the only sense of stability I have in my life right now.

Ugh. Let’s hope the rock stops gathering moss soon.

[markwatkinsconsumerguide]

Consumer Guide / No.40 /   Maggie K de Monde (Swans Way & Scarlet Fantastic) with Mark Watkins.

MW: Maggie, you wrote your first song - “Gloriana” - aged 14. Can you recall the first two lines? What's the story behind it?

MKDM : Mark, the first two lines were : “ Mrs Moffat’s done a bunk, the barbs she ate made her a punk. She flies higher, cooler higher, in her automatic Hotpoint spin drier.”

“Gloriana” is an imaginary state of grace/imaginary place where everything is calm and full of love, and there is no suffering, and everything and everyone is in perfect harmony. A Utopian fantasy. I think I was very influenced by the TV show Rock Follies at the time!

MW: How did Swans Way, then Scarlet Fantastic, come about?

MKDM: I met Rick P Jones at Kent uni where I was studying French and Drama. Rick was a guitarist. We formed our first band Playthings, and then we met Robert Shaw and decided to do something completely different - which to us, meant ditching our original instruments and starting afresh on something new. Hence me playing the drums!! We read a lot, and watched a lot of old '50s movies, and listened to many soundtracks (French and Italian). We were looking for some different influences. Marcel Proust wrote a novel, “Swann’s Way”. I think we may have chosen our name as a nod to this, although we spelt our name differently, as we didn’t want people to think that we were all about the book.

After the release of a critically acclaimed album, The Fugitive Kind, Rick and I became restless, and decided we wanted to take a different musical direction. We weren’t inspired by Swans Way any more. We bought our own studio gear and Rick learned to programme drum machines and synths etc and we came up with a glam/pop/electro/ kind of sound which seemed quite unique to us at the time. We were into larger than life imagery and big slogans: - “Energy Breeds Energy” , “Deconstruct the bad vibes” and many more. I think we felt we were on a bit of a mission, we were very much into the idea of spreading peace and love! We used to describe our sound and imagery as a mix of the REAL the SURREAL and the FANTASTIC. We needed a name that encompassed all this so we chose Scarlet Fantastic! Rick used to make a joke and say it was the colour of my lipstick!

MW: How did Swans Way and Scarlet Fantastic compare and contrast?

MKDM: I think there were similarities in the sense that we were out on our own, doing our own thing, writing songs from the heart, but sound wise there were definite differences as Swans Way had a very organic sound and Scarlet Fantastic was more electro. Lyrics were a very important part of both projects.

MW: Tell me about Duran Duran...

MKDM: Rick and I were in our first band Playthings before Swans Way. Duran Duran used to say that we were the other best band in Birmingham apart from themselves. Birmingham back in the '80s was a very close knit scene, everyone knew everyone. We toured with Duran Duran as they had their first hit “Planet Earth”. I was with Simon sound checking for a gig at Aston Uni when they received the news that “Planet Earth” had charted. Simon was a big, friendly, bouncy ex-drama student, always the flirt too!! Jon Taylor was the one who was always perceived as the cool one (I guess he was initially a little shy). My mum had a cup of tea with him once and said: “what a lovely boy he is!” . Nick Rhodes was the one who people would sometimes say had a tendency to be somewhat of a poseur, but I think he was genuinely into quite diverse and left field art projects etc. Andy Taylor the guitarist was the most down to earth, a salt of the earth Northern lad and Roger Taylor the drummer just always looked incredibly cool!!

MW: …careless memories of BBC Radio 1?

MKDM: I used to love doing Radio one sessions, going to the big studios in Maida Vale and then getting all excited when the sessions would air. Swans Way played live several times on Radio One sessions but I can’t remember whose show we were on. Janice Long was a great supporter of ours along with her producer Mike Hawkes.

MW: ...TV appearances?

MKDM: I think Top Of The Pops and The Tube were always my faves. Both shows were iconic for their time. I miss them both, and sadly there seems nothing like them today. The Tube made several really interesting films of Swans Way and Scarlet Fantastic ; it’s so great that those time were captured on celluloid and can now be see on YouTube all these years on!

MW: Maggie, tell me about your new album Reverie...

MKDM : Well Mark, I called my new album Reverie as I felt the word describes the sound. Reverie is released on Dirtbag Baby Records and it’s distributed by Right Track through Universal. It’s a gentle, dreamy alt-folk album. A journalist recently described it as ethereal folk. It’s a very song based album. I wanted the emphasis to be on my voice and my words. I had an idea for the overall sound and it was a joy to work with my husband and musical partner on it, Mark Leif Kahal, he produced it and played most of the instruments on it too. We really went for clarity and an uncluttered sound. The songs were very much influenced by dreams and nature. There are many similar themes to the original Scarlet Fantastic from 30 years ago but the sound on this new album is very different. It’s more in keeping with my previous album Union which was by Maggie and Martin, a collaboration I did with Marc Almond’s keyboard player.

MW: OK, let’s talk books...

MKDM: The most recent book I read was written by my friend Clayton Littlewood, “Dirty White Boy”. It’s about a shop he had on Old Compton St., and the daily goings on with all the Soho locals. It’s hysterical. It’s a real fun read and it’s in a diary form as Clayton started off by blogging but ended up turning it into a novel. I love his observations of people and places, he’s so insightful and so funny!

My next read will be a re-read, “Tender is the night”, by Scott Fitzgerald. It’s been on my mind often lately and definitely needs a revisit. I love the time it’s set in and I’ve been enjoying a lot of artists from this period recently too. I have also just bought “Testimony” by Robbie Robertson; I can’t wait to to get tucked into this! I’m a huge fan of his and the whole period with all his contemporaries, some legends. It’s meant to be a brilliant book.

MW: Which newspapers can’t you live without?

MKDM: I read The Guardian and The London Evening Standard. Simon Jenkins is one of my favourite journalists. On world news, I’m a big Christiane Amanpour fan.

MW: What are the best and worst aspects of social media?

MKDM: The best aspects are being able to spread the news about my work and to connect and reconnect with people/old friends/new friends/like minded people etc. I enjoy learning about new projects and hearing reactions to world situations etc. I feel the whole “community” aspect of it can be a positive thing. The worst aspects are the cruelty and bullying that can occur, especially amongst teens. I think people can also waste way too much time on social media and forget about/neglect real life. I do know that it does help socially isolated people and lonely people which is a very positive thing.

MW: List your Top 10 favourite EIGHTIES albums...

MKDM:

1 Joshua Tree - U2 (1987) 2 This is The Sea - Waterboys (1985) 3 Faith - George Michael (1987) 4 Kick - INXS (1987) 5 Purple Rain - Prince (1984) 6 Let’s Dance - Bowie (1983) 7 Sign o’ the Times - Prince (1987) 8 The Lion and the Cobra - Sinead O'Connor (1987) 9 Fisherman's Blues - The Waterboys (1988) 10 Hounds of Love - Kate Bush (1985)

Each album I’ve listed here reminds me of a very specific time in my life and a very specific feeling evoked when listening to the music. My life’s journey has been accompanied by some very poignant soundtracks. I spent a very special time in South Africa with my father before relocating to Dublin which was full of magic. Throughout my African experience then onto my Dublin experience, before, during and after, The Joshua Tree held a very special kind of magic for me as did the top 5 albums I’ve listed, all of them in fact! Very hard trying to pick the favourite. All sensational and played an important part in my life, helped me through a few things and celebrated with me too!

MW: Which BOWIE song is your favourite? How did you feel on hearing the sad news of his death?

MKDM: Mark - I was devastated when I heard of his death. It’s so difficult trying to pick one favourite song, I have many but one which never fails to move me is “Wild is the Wind”.

MW: You live in Eastbourne. What do you enjoy doing along the South Coast?

MKDM: I love the nature here. I walk and cycle often and spend a lot of time by the sea. I’m enjoying painting again. We have a fantastic modern art museum here, affiliated with the Tate, so I’m often there. We have some great record shops and cafes and some amazing restaurants too (I’m a real foodie!!). I often hop over to St. Leonards, Hastings or Brighton. London isn’t far either. I travel a lot around the South East as there is always a lots going on. Music, art shows etc. I have my own studio so I record a lot of stuff here too.

MW: … plans for 2017?

MKDM: I have a song “Heartbreak House” on Hifi Sean’s album Hifi Sean Ft. The video for the song will be released shortly. I filmed it in St Leonards, it’s turned out to be a rather neo-Gothic affair! Sean is ex-Soup Dragons, his album is doing very well, his track with Crystal Waters has just gone into the Top 40. There are some interesting artists on the album, Yoko Ono, Fred B52’s, David Mc Almont and many many more. As well as being a part of that I’m writing new material and I’m also painting a series of still lifes in oils. You can keep up with me on my Facebook musician pages, Maggie K de Monde, Scarlet Fantastic and Swans Way. There is also a website www.scarlet-fantastic.co.uk

© Mark Watkins / February 2017