Tag: new music friday

New Music Friday: The Death Alley Drivers

The Death Alley Drivers is a vehicle [like, literally] for Northampton songwriter Nathan Harris. Rebirth comes in many forms, and ‘Rotten Apple’ with all its interior drama is as good…

The Death Alley Drivers is a vehicle [like, literally] for Northampton songwriter Nathan Harris. Rebirth comes in many forms, and ‘Rotten Apple’ with all its interior drama is as good a way to go about it as far as New Boots is concerned. Tea and sympathy with Harris is below, with the lovely ‘Rotten Apple’ video at the bottom of the piece.

How did this project get together?
In the summer of 2017 after not picking up the guitar or doing anything musically since 2007 I had a creative burst writing tunes. Over three months I had written about 20 songs and decided I didn’t want to start a band, but did want to record them. Through the ’90s I played in Terraplane and Jnr Loaded and in 2006 I played in The Squids, and even though it was fun it did leave a bad taste in my mouth and feeling bitter towards music and the industry in general. Anyway I decided to contact Max Reed at The Lodge, who I had recorded with throughout the ’90s, so once he was on board I set out recruiting musicians who I knew but had never played with [apart from the odd jam].

Stevie Ward was my first thought when it came to guitars, as he was in the first band I watched live in Northampton back in 1993 that made me want to be in a band. Plus I likes his style and sound, and he’s a fabulous songwriter. Next up I roped in Wayne Roberts, who again I had known from playing in bands back in the ’90s. From there I called in Giles Kaal on bass, who I had knowledge of since 1994, and him and Wayne were in a band together in 1998 with Tim Muddiman. Next up was Phil Searing who was playing in the Red Triangle and I had met several years ago. I was huge fan of his style, and I knew I wanted something different to the sound we were going to create. On the song ‘Rotten Apple’ that we just released I had my old friend Miles Christian Smart play the piano. Unfortunately he couldn’t commit to future songs so I got in touch with Nathan Bundy [P- Hex] to come and record the rest of the songs, and finally I got Lee Kenny [who again I had known from various bands in the ’90s] to play guitar on some of the tracks. That now is the core of The Death Alley Drivers.

How would you describe your sound? Who are your main influences do you feel?
I’m not sure how to describe the sound as we’ve recorded ten songs for an album and no two songs sound the same. We got some slow burners and some uptempo ones, but the tones and styles are different on everyone. I think that’s the luxury of having such great musician’s playing on this. At the end of the day it’s all rock and roll to me. Influence-wise I listen a lot to Nick Cave, PJ Harvey, Mark Lanegan, John Cale, Bowie, Paul Weller. I don’t really listen a lot to current music, but I do like Wolf Alice.

Tell us everything about these two new songs, ‘Rotten Apple’ and ‘P.M.A.V.’. Are these the first fruits of this project?
‘Rotten Apple’ is a song about love and loss, heartbreak, redemption. It’s nothing personal, I’m just telling a story when I comes to this one. The video was directed by my good friend Paul Michael Hughes. With ‘P.M.A.V.’ that’s a different one: I wrote the lyrics based on my time working in the mental health sector years ago. We have more songs to release once they’re finished. All the music is recorded, we just got some vocals to record and the mix so hopefully should be out in the next three months, but I plan to keep releasing songs with the videos like the one we did for ‘Rotten Apple’ as I am big fan of the filming side of things.

Will there be live shows?
We are currently in discussion with making our live debut at the end of April, this really did start out as studio project for me but as we’ve been progressing along it seems unavoidable now not to play it live.

Are you part of a wider scene in Northamptonshire?
I’m more of a recluse, but obviously Stevie, Wayne, Phil and Nathan B all play in their own bands. I’ve had the pleasure of knowing many of the musicians and artist from around Town over the past 20 years, and I did ask a few of them to contribute to the recording, including Gregg Cave, Katie Paton [Kings Gambit] and Sean Grant, but due to availability or whatever other reason it never happened. I might get them in when we record the next one.

I’ve always been a massive fan of our local scene even if I don’t get out and watch them much. I keep up to date via social media obviously. I’m a fan of all the guys in The Death Alley Drivers and their current bands, plus the musicians I’ve mentioned above. I really enjoy listening to Joe Woolley. Lately I’ve been listening a lot to King Purple, I think they’re amazing and definitely will be checking them out live at their next gig.

What was the last album you bought/streamed?
I don’t stream music, I listen to music mainly through YouTube. The last CD I brought was Mark Lanegan’s Gargoyle.

What is your burning desire for the band to do in 2019? What plans do you have?
I’m planning on following ‘Rotten Apple’ up with more songs with videos to accompany them, then get ready for some gigs and put out the album. As far as that goes I think that will keep us pretty busy throughout most the year. I have no plans to conquer the world as that is a young persons game. I’m too old and miserable to want to be taking orders and bullshit from record labels. Really I would just like to eventually get back in the studio and record again as I’ve already written another album’s worth of tunes.

‘Rotten Apple’ is out now via the usual digital means

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New Music Friday: Har-Q

Northampton rapper Har-Q has been building a strong name for himself with his many releases, and 2018 was a big moment with two albums released. New single ‘Big Money’ is…

Northampton rapper Har-Q has been building a strong name for himself with his many releases, and 2018 was a big moment with two albums released. New single ‘Big Money’ is equally worthy of attention, and New Boots asked a few pertinents to the man himself.

How, when, and why did you become Har-Q?
Well initially I went through some corny names, here’s a couple for e.g – Genesis, T.money, and w.a.s.p. “I was 16 you have to forgive me.” But while I was working at a call centre “big up space designs”, where I mainly wrote rhymes and occasionally answered the phone, one time a guy can’t remember his first name but it came up on the call screen called something “harq” and I complimented his name as I wrote his surname down and alas something I could work with that wasn’t lame. The meaning came not long after that, it was “HAR-Q when I leave the stage it will be a hard cue to beat.” Over the years as I grew in knowledge and the name evolved, it became H.A.R-Q which means the H = herald: messenger, A = ark: the message, R = returns/renaissance and Q = quadrivium, which alienates the hell out of people. I watch them squirm when I tell them this as its a bit geeky and probably out of the scope of their interest, but basically it’s saying that it’s a return to the original principle of university when the scholars focused on the four arts “arithmetic, geometry, music, and astronomy” and I came to spot the familiarity of that in the early hip-hop culture: breakdancing, graffiti, DJ, emcee and these are the pillars of education and advancements in life as the quadrivium / liberal arts gave birth to the renaissance out of the dark ages.

How would you describe your sound?
I go through a range of sounds if you listen to my back catalogue. But don’t: the production isn’t that great, good content but poor recording, so my goal over the years probably became to have a clear audible sound that mimics that of people on the radio.

In terms of content I would describe it as lyrical; often finding myself jumping on the spoken word because people by default don’t like to think too much while listening to music. It always has a storytelling theme because I binge watch and read a lot. I almost give a synopsis on the subject in song form or fully immerse my self into the character and do it first person, trying to embody the tale. I aim for entertainment value.

Composition wise I love heavy melodic music and multiple thumping bass.

Who are your influences?
Hip hop: all the elements when combined 
Cap-com: love games 
Crunchy-roll: worship anime 
Robert Greene: for his accounts of history and what to take from it
Stan Lee for his characters 
Big dreamers: anyone with goals ambitions and direction because without the direction they are just dream
Myself: as I sit back and watch myself battle their life and surprise myself with my willpower, creativity, and resilience to the point I think most of the time I’m just a spectator in my own life.
books: because its facts / imagination/ history etc
Nas, for his mastery over the language 
Anderson Paak, for his creative style

What was the reaction to the two albums you released in 2018?
Trapped Hop was the first album that was released in twelve years. The first album was done by the record label Big Tuff Ent. So I didn’t really know what to expect with this one with no promotion, no shows, no marketing, no money.

I saw while doing research that you can get your songs streamed on sites like Spotify, iTunes, Amazon etc and thought: sweet, if I get it on their boom that’s my label and manager right there I’m going to get millions of plays while I sit back and get paid, and boy was I wrong. For the first five months it bombed. I had wasted half the year and had nothing to show for it. I was stumped so I got to promoting it: sharing it, making flyers and going to open mics then it slowly started to pick up in the late half of the year. I have seen a subsequent rise in the second quarter of the year, especially ‘Neo Yokio’ [from Trapped Hop]. 

The Creed has through looking at my analytics, geeking out, it holds most of the top spots, but it’s because I never wasted time when I released it. I was a bit more prepared or knew at least a bit more what to do and consistency is defiantly the key. Ad not just online: you have to hit the streets, if you stop sharing and stop looking for new people your progress slows down. I’m still in my infant stage really, even though I have never stopped working my craft artistically for what feels like a lifetime already. But in a nutshell it has been as successful as it could be in my eyes. Trying to watch my own achievements and not put it in comparison to people further in their career, that’s the quickest way to giving up. And hopefully I have started enough of a buzz for the up and coming material.

Tell us about your new single, ‘Big Money’.
‘Big Money’ is about the grind that we all go through, we always bump into people we know on the street, in a store etc who we haven’t seen in a minute and the hook kind of embodies a call an response theme of the generic questions people often ask. I’ve had a lot of changes in the latter half of this year: I’ve changed jobs after seven years, currently separated from my partner of 12 years, finally back in the studio diligently after eight years, so the grind has been immense. Thinking, learning and working towards where I want to be in the next five-ten years, so right now I’m just like ‘yyyyyooooo let me tell you about it’, but in the way an artist does. It’s a very relatable tune I feel, and felt it had a very human element to it as I’m always rapping about fantasy and stories.

What are your live shows like?
I’ve only this year got back to performing constantly working with the “Lay It Down” team [Northampton] and “Soapbox” spoken word [Milton Keynes] “ Breakmission” hip-hop collective [Birmingham]. So I’ve had some good shows, some shows where the liquor problem got the better of me, shows where my insecurities won. But I love to bring the energy whenever possible, but as I’m developing I want to integrate and bring more to the performance because I focus so much on the lyrical content I feel it can zap my focus on the stage. Forgetting my lyrics is probably the thing I fear the most in the whole world, as well as the socializing aspects afterward. I can be quite socially awkward sometimes, lol, but back to the point when I drop tracks like ‘Gang Gang’ and ‘Akuma’, it can get lit.

Do you feel part of the wider scene in Northampton and like-minded people, any shoutouts?
I think to be a part of the community you have to throw yourself into it. With that said the scene could also do with a shot of adrenaline to bring it to life. Yes I’m trying to immerse myself into it more, and be more involved. Lay it Down has been a massive part of this, and I’ve been out to Rugby doing some shows with Benny & The Jango Massive. I think if we work together, not necessarily as a team but toward a common cause, and combine our strength I think we got a great opportunity here for music lovers of the north.

What has been your favourite moment in 2018?
It has to be, hands down, going to Comic-Con Birmingham and rocking the Har-Q get-up mask and all then hearing someone call my name in the distance thinking it was my boy. By boy I mean friend, not son, as the rest of the sentence would sound like neglect lol. As I tend to wander off I looked round to see a guy with his son and he was like Har-Q, right ? I was taken aback, but was like “HELL YER” and he went to his son [who didn’t seem the faintest bit interested] “Its har-q”. But we stopped, spoke for a minute took a photo and ‘GASSED’ is an understatement.

What was the last album that you brought or streamed?
Well I haven’t brought an album in yonks, but I do listen to Spotify release radar and discovery every Monday where they drop something new that relates to something I’ve been listening to all week just to see what’s good. But I will say new artist wise I like Denzel Curry: love his raspy gravely voice, his content and delivery is furious. Reminds me of that raw era of hip-hop.

What is your burning desire of the future, what plans do you have?
My main desire is to create a comic book to anime, its always been one of my major goals. Other than that to keep working my craft and actually get in the studio with some session musicians and producers and create some classics on an unplugged vibe, and just to get bigger and better, more elaborate.  

Big Money is out now. Image courtesy of AudioStage

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New Music Friday: The Atrocity Exhibit

Grindcore trio The Atrocity Exhibit are a MK/Northampton act who have recently released their first “proper” full length album, Extinction Solution. The band  – James Caygill [vocals/guitar], Olly Edwin [bass/vocals] and Matt…

Grindcore trio The Atrocity Exhibit are a MK/Northampton act who have recently released their first “proper” full length album, Extinction Solution. The band  – James Caygill [vocals/guitar], Olly Edwin [bass/vocals] and Matt [drums/vocals] – have been ploughing their unique furrow for many a year and now have a refined piece of work to shout about. New Boots gets the skinny on everything from Caygill.

How did you guys get together?
The band kinda started around late 2005 with myself and Lee (ex-guitarist) just jamming out some ideas, just mashing everything we liked together.  It was a lot less cohesive then, but now it’s been more reformed into our own style. Just a bunch of people who wanted to make some noise.  Our first gig was six months later and a shambles really, a pretty standard story for most bands I’m sure.  We’ve been through a lot of changes over the years and the current line-up has been going about nine months.
 
How would you describe your sound?
Grindcore mixed with crust punk.  Blastbeats and d-beats, and occasional awkward angular riffs in silly timings. We try and write interesting energetic songs, but also avoid conventional song structures.
 
Who do you feel are your main influences?
Motorhead, Black Sabbath, Soilent Green, Acid Bath, Melvins, Hard To Swallow, Iron Monkey, Napalm Death, Extreme Noise Terror, 80’s punk.
 
How has the band progressed since 2006? Is it a case of sticking to your core values throughout that time despite all the natural changes bands go through?
I think we quickly became a lot more focused musically, when we started all the songs felt completely different but now it’s more part of a ‘sound’.  Every line-up change has had a bit of an influence on shaping it though.  As for values we’ve always been sticking to a rigid DIY ethic.  We try and do as much as possible ourselves rather than paying someone else to make the effort; it’s harder work but a lot more rewarding and personal. When we do work with other people then it’s usually involving our mates. The UK DIY scene is small but pretty healthy and self-sustaining, everyone helps each other with organising gigs, recording, artwork, printing, etc.
 
You’re a fan of the EP, but this is your first studio album. Is it hard to decide in what format to release your songs?
It’s actually our first proper full length! We did a live tape (a split with Atomck) for a European tour back in 2011 but I think we only actually made 30 copies of that, and it was a live recording anyway. All the copies sold out on tour but then we got quite a bit of attention from it being distributed online by Randall from Agoraphobic Nosebleed, on his Grindcore Karaoke Bandcamp page. Most of the time the EPs were a result of us trying to release things fairly quickly, we’ve played a lot of gigs and between live shows and changing line-ups it was good to try and keep new music out there.  It also makes it more affordable for smaller bands, especially when its working together with split releases.
In terms of format vinyl has always been the preferable option for our scene, or maybe cassette.  CDs always sell much slower. Having a Bandcamp page is essential, but otherwise I never really pay much mind to the digital end of things.
 
Tell us everything about Extinction Solution.
We recorded it with Boulty up at Stuck On A Name Studios in Nottingham.  SOAN is a fantastic place and a real sweet spot for the DIY scene, covering practice rooms, live shows and recording.  Every town needs somewhere like this, but sadly they’re incredibly rare these days. It was probably the easiest recording I’ve ever been involved with, we just set everything up as we would at practice and smashed out 19 songs together.  All the music was basically done in about 90 minutes.  Vocals were recorded after a quick breather, and by the time we were finished I think Boulty pretty much had it all mixed. We’d played those songs live a lot so I think almost everything was done first take: we’d just listen to it and have another go if it wasn’t fast enough.
Releasing it took slightly longer. We worked with nine DIY labels from around the UK, Europe and America, it involved a lot of juggling and many many emails back and forth, but it was worth it in the end. The labels are Woooaargh (Germany), Give Praise (USA), Let The Bastards Grind (UK), Rip-Roaring Shitstorm (UK), FHED (UK), Aktiver Ausstand In Plastik (Germany), Praise Saitan (Austria), Visions Of Warning (Northern Ireland), and Existential Dread (UK).  Released on LP (pink or black vinyl), cassette, and CD, as well as digitally in the usual places. Spotify and that are a bit crap though so I’d rather you just stole it and sent us a quid.
The illustration for the front cover was by my good friend and old housemate Amy Edwards, she’s a brilliant artist and works in a tattoo studio in Birmingham – one of the best portrait artists I’ve seen.  We collaborated a bit on the front cover: she did the hard work of the original black and white ink drawing, and I basically coloured it in. W did a similar thing for our self-titled EP a few years before.
Lyrically most of the songs cover a range of ways that human beings seem addicted to aspects of apathy and self-destruction.  Things are crumbling and systems are failing people everywhere, but it’s easier for everyone to pretend it’s going to be okay.  It’s fairly nihilistic, but it just seems to get more relevant each year.
 
What are your live shows like?
A load of sweaty screeching feedback and noise!  No messing about.  We’ll bang out 20 songs back to back in 20 minutes and get out of the way.
 
Are you part of a wider scene in Northants/Bucks, playing with like-minded bands? Any favourite bands/venues to play with?
It’s pretty much non-existent around here really in terms of similar bands – there was the great Let It Die from Kettering, but they sadly retired a few months ago. Matt also plays in Casket Feeder from over Milton Keynes way, and I have another band Hot Cops with our old drummer Danny.  There are definitely like-minded bands with a solid DIY ethic here though. One that immediately springs to mind is 72%, who’ve always been consistently excellent and interesting. I used to really like Operatives as well, with their Frank Zappa playing the Melvins mix up.  Iron Grave are great too on the slow heavy end of things.  There’s a local metal scene but we’ve never really been a part of that.  In terms of venues, The Lab is the main DIY venue these days and I always enjoy it there.  The UFO Cafe is a good spot too, but I think they’ve been limited with sound levels recently.
The UK grind scene is pretty strong at the moment, there’s a bunch of really wicked bands around and each one has their own sound.  I’m sure I’ll miss out a few but well worth checking out are;   Gets Worse, Afternoon Gentlemen, Human Cull, Atomck, Nothing Clean, Evisorax, Boak, Groak, Endless Swarm, Wheelchair x4, Famine, Gout, Ona Snop, Negative Thought Process.
 
What has been your favourite moment of 2018?
Finally releasing the album!  There was a hell of a lot of work involved behind the scenes in getting that out there so it was a great relief when it happened.
 
Last album you bought/streamed?
I think the last album I bought was DaDhelo by Chepang, which is banging! Recently I’ve mostly just been listening to a lot of Tom Waits, Hawkwind, Melvins and early Queen.  That probably applies most of the time to be honest.
 
What is your burning desire to do in the future? What plans do you have for 2019?
We’d been a bit quiet for a while this year whilst releasing the album and getting the new line-up ready for shows.  So I’m keen to get back on it in 2019 and hopefully head back to Europe and Ireland for some gigs, and I’d love to play Obscene Extreme Festival in Czech Republic as that’s always been a goal since we started.  We’ve already been confirmed for Dreadfest in Leeds in March, and Chimpyfest in London for September. 
Otherwise we’re finishing off a load of brand new songs for the next recording session.  It’s been a slow process but we’ve got about 20 new songs almost there.  So that’s hopefully a new album, and we’ve been talking about doing a split with Human Cull for a while.
 
Extinction Solution is out now
 
 

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New Music Friday: The Wax Lyrical Sound

Northampton’s gritty rap-rock quartet The Wax Lyrical Sound have re-emerged after a fairly quiet twelve months to finish 2018 strongly, including the release of ‘Precious Little Things’ [hear it below]….

Northampton’s gritty rap-rock quartet The Wax Lyrical Sound have re-emerged after a fairly quiet twelve months to finish 2018 strongly, including the release of ‘Precious Little Things’ [hear it below]. New Boots spoke to singer Simon Meekey about this new beginning.

How did you guys get together?
TWLS were formed in 2013 by drummer Ryan Ashmore. He recruited his old bassist, Neil Bland, from Princes Street and after some persistent pestering, frontman Simon Meekey joined. Initially a three-piece, the puzzle was complete when guitarist Ali King joined onboard a month later. The band formed because Ryan wanted to achieve more and wanted to produce a more unique sound. Our sound is eccentric, unique and not like any generic music. It has a balance which works like no other and from the feedback we get, most people like it.

What was the reaction like to the first couple of EPs?
The first few EP’s were good. It’s funny when you make a record and think its the dogs dinner at first glance. When you develop and become technically better in what you do, everything becomes more nitty gritty and every little detail counts. Its small margins and its those small margins that determine whether you achieve a ticket sale for a show or not.

Who are the current influences that are getting the guys fired up? You’re a bit heavier these days, aren’t you…
In terms of influences, we have many that have inspired us along the years. Beastie Boys, The One Hundred, Rage Against the Machine, Crazy Town, System of a Down, Scroobius Pip, Jamie T bigger artists such as Eminem, Dr. Dre. Funnily enough, the whole band started due to an influence by Skindred. Much is not related to music either, most influences comes from day to day life, current affairs, media and things happening in the brain. There is no specific style we have though or we aspire to have, we just do what we feel is right at the time. I think our natural progression has made us heavier and I think we needed a part of that to appeal to more crowds and be able to play more shows.

Tell us about this new song ‘Precious Little Things’. It’s the first of a bunch of singles from you, right?
So the next release will be sometime in 2019! No set date, we’re not in a rush. We take things at our pace and we control what we want to do. Some say there’s a demand but, as we’ve learnt from previous experiences, music shouldn’t be rushed. We have ‘Precious Little Things’ currently out on all platforms, soon to be followed by ‘Human Race’ and others. Keep your eyes and ears peeled and keep streaming!

What are your live shows like?
Well the only way we can describe them is if you’re there to soak them in. Normally full of energy and bespoke, we aim to capture audiences and engage them with our lyrics and raw sounds. I used to be much more energetic but due to excessive alcohol intake, my gut has decided to slow down for now!

How was the Skindred support show at The Roadmender?
The show with Skindred and Sonic Boom Six at Roadmender was mint! Collectively couldn’t of asked for anything better. We didn’t expect a very large crowd because a majority don’t really watch the first acts or are late arriving. To our surprise however, and fair play to the crowd, the room was packed and we received some nice comments and feedback. Benji from Skindred even caught some of the set! Hopefully gigs like that will open some doors for us and get us similar support slots in the future!

Are you part of a wider scene in Northamptonshire, playing with like-minded bands? Any favourite bands/venues to play with?
We take things as they come. A lot of bands are stuck up their own arses nowadays and we haven’t got time for it. Its a shame really, but each to their own. Some see it as competition and its not: the music scene should be a hub where artists influence each other. Luckily we have made some good friends from the scene, and always look forward to playing shows together. There’s some cracking promoters on the scene too who really look after set bands. In terms of favourite venues, Roadmender is always good, The Craufurd Arms, Bedford Esquires, The Lab are all great little spots – and the list goes on!

What was the last album you bought/streamed?
Last album I physically bought was Pray for the Wicked by Panic! At The Disco. Prior to that was Tranquillity Base Hotel and Casino by Arctic Monkeys, and what a belter it was! Very different, but all do excellent things!

What is your burning desire for the band to do in the future? What plans do you have?
We want to continue to enjoy what we do, continue to entertain and continue to create good music! I think those three things are vital to bands and artists, because when it feels like a chore, it might be time to have a reshuffle. We collectively had a reshuffle this year, and are happy with the outcome and where we want to be. We plan to continue to build our reputation and play some of the best stages across the UK, and even overseas!

Precious Little Things is out now across the digital platforms

 

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New Music Friday: King’s Gambit

Chris Startup – songwriter, lead vocals, guitar and harmonica – is the musical director of King’s Gambit, the decade-old Northampton folk-rock collective. They are now drip-releasing a live album, and…

Chris Startup – songwriter, lead vocals, guitar and harmonica – is the musical director of King’s Gambit, the decade-old Northampton folk-rock collective. They are now drip-releasing a live album, and New Boots spoke to him about the band’s history and this live project. 

How did King’s Gambit get together?
In 2006 I met Katie [Paton] and Cheese at separate events as I was playing full time with Tarantism. Katie agreed to sing a few songs of mine, and I convinced her to do more backing singing in 2008 as we got a few gig in the local pubs and local festivals. I remember our first ever King’s Gambit gig playing at The Umbrella Fair in the summer of 2009: we played songs such as ‘Carry Out Some More’ and ‘A Girl Called Moira’. The audience loved it.

In 2006 I did a separate gig with cheese and a few other friends of mine. We played a TwinFest gig in Beckets Park and I can only imagine now it sounded very ‘folk-rock’, as I had a drumkit that was played by a great friend Mr Will Stevens – and bass by Matt Clayson. Cheese then disappeared and came back later in 2014 to become a massive part of our sound that you here now.

Early in 2010 I met up with Helen Turton she was playing with InVocal at the time and travelling all over playing different festivals and clubs. We met during a ‘TEACHERS’ drinks party and I asked if she wouldn’t mind playing the cello with me… she said yes! Later that year Katie, Helen and I started to take it seriously and started to practice once a week with Katie not realising I will soon ask her to play bass guitar. 

King’s Gambit was formed out of friendship, festivals and great times. The origin of our band name ‘gambit’ means to “trip over your opponent” (the Italian is Gambetto), or chess move. It also means to me a reference to the King Tripping LSD style lover. I loved the fact we all have a dance-infused sense of rhythm within us, and I hope we now achieve the same vibe for our audience

How would you describe your sound?
Folk-rock dance anthemic party music 🙂

You’ve put out three albums since 2012. What’s been the reaction to them? Do you feel there’s a narrative progression with them?
We first released Lines and Verses in 2012. These were all my first songs I wrote during 2001 – 2006. I had recorded some of these songs before, but without success. When I started working with Katie and Helen I knew the time was right. I recorded all of this album myself, except for Helen’s cello and Katie’s vocals, and at home. I didn’t know my audience, or who I was trying to reach to. I just wanted to record music and share it. To my surprise we sold out all our CDs in the first 4 weeks.

In 2014 FolkBeat was a huge deal for all of us. We had worked hard with our ‘live’ sounds now for a few years and had been gigging these songs at pubs and festivals. I began almost immediately after Lines and Verses teaching Katie the bass guitar, and finally we started to progress as a group. Helen Turton played the cello, I played the kick drum, vocals and harmonica, and Katie Paton played bass and vocals. It was also great to ask Cheese to come and guest on a few tracks ‘Andrews Song’ and ‘Dressed To White’ with his own hand-crafted Mandola. When we released this album we saw the difference with many more festivals and venue bookings. We had gone to France, Germany on Twinfest gigs and had been started to play the festival circuit on the back of Tarantism.

Over the next few years Cheese joined us full-time. All our previous albums had progressed and changed by his amazing sound and ability to play the mandolin, mandola and banjo. We started playing folk clubs around Banbury and Brackley and other parts of the UK, and working a lot in the summer at small festivals – and now in 2018 working with the likes of Continental Drifts.

From One To Another, from 2016, I feel is OUR album. We individually play all the way through on it. I asked my father-in-law Mr Chris Hewett to guest as the accordion player on the album, so I really feel it has family vibe for me.
The songs are so important to me and represent what we do best: playing original folk tunes such as ‘Old Town’ ‘Charles Baker’ and ‘From One To Another’. It is also in some ways an expression of rebellion and protest: ‘The Only One’, ‘Mary Jane’ and ‘Clockworks’.

I’ve been on the underground festival scene for so long with Tarantism I take inspiration from them and other bands such as AOS3, Back To The Planet, RDF. These groups have been the back bone of what I am and was a part of for many years on the festival circuit. Each year has progressed well with King’s Gambit. We have learnt so much from each album and I guess so do the audience. I think that we have had a very natural narrative progression with our band and the music and sound reflects this. We are of course a LIVE band and now play for around 2 hour sets.

With From One To Another you said that this is the album that provides the full picture you’ve been working towards since the beginning. Do you think you achieved that?
Yes it does in one way, but doesn’t in another. I feel I have achieved my goal of writing original folk tunes with arranging vocal melodies. But I still feel it’s just the beginning of the whole picture. I want to create a dance-fuelled party atmosphere. The last three albums is what we do collectively as a group, and will always play them live, but I want to push new boundaries and explore more dance tunes with a banging kick beat.

One review of the album declared “I’m surprised they’re not better known”. Do you share this assessment? Hell, how does a folk group break through; Radio 2?
I do wish we were better known. I feel over time we will be and that our albums and live sound will see more and more people come and see us and dance. The bigger the stage the better. We are totally self sufficient. I am the manager, promoter, designer, songwriter, record producer. It doesn’t take 8 years. I believe it takes a lot longer to achieve goals such as Radio 2, and that is why we are starting to release a live album over the next year and anyone can hear or view it.

Tell us everything about these two new performances that have appeared online. On Facebook recently you said it was “the start of our live album”…so more to come?
Earlier this year I set up my recording equipment and had a meeting with a great friend of mine who is a camera and video editor, Dom – and got to work in creating a live album. I wanted to ask around 50 people to come along on a Sunday and see us live. They sat down during the whole gig and listened to what we asked, so I really feel it captures a cool Sunday vibe. I press record and we start to film. I think a lot of the audience thought it was for a music video, and that they had to listen to one song 50 times over a two-hour period. This wasn’t the case. We play 12 songs in total for just over an hour. I go back home and start to produce and couldn’t quiet believe what we captured. We will be slowly releasing the whole album over the next year on Youtube and other streaming services whilst we concentrate on our next album.

What made you do the Open Stage performance in the first place?
I make a living teaching music. I teach 12 instruments and also teach singing workshops around the county; singing4breathing , people with COPD [chronic obstructive pulmonary disease], and I also have a 30 + piece choir at Open Stage. To me Open Stage was the perfect opportunity to use this venue as I have strong links and also it is central for people to come and watch us in Northampton.

Are you part of a wider roots scene in Northamptonshire, playing with like-minded bands? Any favourite bands/venues to play with? Favourite local festivals?
We love working with any local bands and yes we are definitely part of the wider roots scene…Jono and Uke Dealers, VHS Pirates, Howling Owls – we also had a great new talent Jacob Braithwaite perform at our From One To Another album launch. We play at least once or twice a year at The Lab, The Lamplighter and The Umbrella Fair.

What was the last album you bought/streamed?
The last album I was listening to was Fat Freddie’s Drop – Dr Boondigga and the Big BW. I have recently been streaming CamelPhat and loving a track called ‘Gypsy King’. And Jacob Collier ‘With The Love In My Heart’ – great tracks…

What is your burning desire for the band to do in the future? What plans do you have?
I want to record our next collection of songs at a studio and mix from home. I think we deserve to now move out of the bedroom and into a recording studio to record the next album. I would love to put it on vinyl too. It will be a very dance-lead euphoric sound, and will include songs called ‘Patterns’, ‘Le Bop’, ‘Ballad of a Man’ and ‘Songs in June’. e are also hoping to support a few bands next year, headline new festivals, go on a mini-tour around the UK and generally reach out to as many people as possible.

King’s Gambit Live at Open Stage is available for streaming now, and more tracks will be added over time

 

 

 

 

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New Music Friday: Brazen Foxes

Brand new outfit Brazen Foxes have spent 2018 honing their craft, and finish it with their first single, ‘Fool’. The indie-rock trio will be ones to watch in 2019, but…

Brand new outfit Brazen Foxes have spent 2018 honing their craft, and finish it with their first single, ‘Fool’. The indie-rock trio will be ones to watch in 2019, but for now let Benson Fox tell you all about their development.

How did you guys get together?
“This project is an ambition we’ve shared since we were quite young. We met and started jamming together at Foxhill Music School in our mid-teens. To some extent or another we all have a connection with that place. We used to help out with the annual music festivals they put on, work with some of the younger students, and older for that matter. It was a really nice place to grow up as musicians, and we all learned a hell of a lot during that time. After that the three of us went our separate ways musically for a while. We’ve played in various bands, had lives, got jobs; the usual stuff. Then in November last year Ben seemed to have some kind of divine moment of clarity, messaged both Sam and I, said “Right, we’re doing this” and that was that. We’ve been writing and working together ever since.

How would you describe your sound?
We set out to write songs with anthemic catchy choruses but with a technical, almost post-hardcore edge to them.  We wouldn’t go so far as to put a stick in the ground and say “this is us”, however. There’s so much music and influence out there at the moment. It’s so easy to just put stuff out and see what happens. Three words that spring to mind to describe our current sound: soulful, hard-hitting and melodic.

Who are your main influences do you think?
We took some inspiration from bands like At The Drive In, Cursive and Biffy Clyro but we’re also huge fans of some of the great songwriters and producers of the last 50 years. Quincy Jones, Nile Rodgers and David Bowie just to name a few, so there’s also a really big funk, soul and Motown influence. Then artists like Twenty One Pilots, Public Service Broadcasting and Bruno Major are doing some really interesting things at the moment as well. There’s so much music, so much inspiration out there at the moment it’s impossible to cover all of it.

Tell us about this new release, ‘Fool’.
‘Fool’ is the first song we wrote together as a band, and has almost set the trend for the songs we’ve written since then. For us though this song is just the tip of the iceberg. ‘Fool’ is about misguided love and the feeling you get when your delusions begin to unravel. We’ve all been there: you meet someone, you get to know them for a while, they lead you on and then throw you away like nothing happened. ‘Fool’ is about going through this transitional period between fantasy and reality. The loss, confusion and pain you feel but also the liberation once you come out the other side and realise what a fool you’ve been.

What are your live shows like?
Here’s a review by Jacob Barnaby of the second Brazen Foxes second gig at The Pomfret Arms [November 3rd]
“Modern music often falls into two categories: overly-simple-repetitive-commercial tracks lacking innovation; or music so complex that you need a degree to understand the time-signatures and harmonies. Brazen Foxes found the sweet spot in the middle of that Venn Diagram. In the last few months, I have not heard music so diverse and complex yet so easy to enjoy. The three Foxes bring a stellar repertoire of experience from playing professionally to running jam nights in towns. Through spending so much time immersed in different types of music and the need to please crowds they have developed a unique but familiar tone. One that instantly resonates with your old, rusty memories of certain tracks, but still surprises you by coating those sounds with a new coat of paint”.

Are you part of a wider scene in Northamptonshire?
We’re just starting out at the moment so no, we’re not particularly well established amongst any local scene. We’re really only just working towards that now. With the release of our first single this month and our emergence on the scene we’ve had a really strong end to our first year as a band. We’re looking forward to our fourth gig coming up at Club 43 in Northampton on the 15th of December – and even more so what next year has to offer.

What was the last album you bought/streamed?
Sam Thorne: Outlandos D’Amour – The Police
Benson Fox: Mekong Delta Sunrise – Astronomy Class
Ben Hood: A Song For Every Moon – Bruno Major

What is your burning desire for the band to do in the future?
The biggest one for all of us is to be able to earn a living: writing, recording and playing music. We’ve all got jobs, we’re all financing this project at the moment so the first goal is to get the project paying for itself. After that who knows. Hopefully play some big festivals, make the music we love making and most importantly; have fun!

What plans do you have?
We really want to branch out with our sounds and influences. In the new year we’re taking on a studio space where we can set up all our gear permanently. Hopefully this will enable us to start making decent quality recordings in our own space, rather than spending thousands in the studio. This should give us the freedom to create and release music that appeals to a variety of audiences. We believe the joy of writing music in the 21st century is you don’t have to conform to a genre, sound or set of influences. To quote the old adage, “The whole world is watching”. Throw enough paint at the wall and something might stick.

‘Fool’ is available to stream and buy on all the usual platforms

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New Music Friday: The Sunchymes

The Sunchymes is the psychedelic/power-pop project of Northamptonshire artist Aaron. Three albums over seven years have been met with much critical acclaim, and he’s back with a brand new single…

The Sunchymes is the psychedelic/power-pop project of Northamptonshire artist Aaron. Three albums over seven years have been met with much critical acclaim, and he’s back with a brand new single ‘Masquerade’. Time for a New Boots chat, then.

How did you get this project together?
I started in 2007 after a band I was in split up. I had lots of songs written and I wanted to record some albums and release them.

How/where do you record?
Mainly in my home studio.

How would you describe your sound? You had a very particular mission statement when you set out to “distill the songwriting and musical values espoused by The Beach Boys on ‘Pet Sounds’ and The Beatles on ‘Sgt Pepper'”.
My main influences are definitely The Beatles, The Beach Boys and The Byrds. I think there are influences from all these bands in my music, but with my take on those sounds.

There’s been three albums since 2009. The reaction to them has been fantastic, that must spur you on…
Yeah, it was a pleasant surprise that there are people out there that like my music. It does spur me on, but I love writing songs in any case.

You’ve dropped your toe back in the water this year with ‘Try’ and now ‘Masquerade’. Do you like this approach to putting music out, i.e. whenever you feel like it?
I do and it’s great that anyone can do this in the modern age with the likes of Bandcamp and CDBaby, etc.

What is ‘Masquerade’ about, may we ask?
It’s basically about a toxic relationship where the bad person pretends they have changed but ultimately it’s found they have not and the person is unmasked.

You began a side project last year, an indie-psych trio called The Paperweight Array. Can you tell us briefly about that, and how you approach it as a separate thing from The Sunchymes?
Yeah, I have really enjoyed doing that. I wanted to do something with a slightly darker edge, so I called up some old friends. Luckily they were up for doing the project. The Sunchymes has probably taken a back seat over the last couple of years as a result of it though.

Being a solo artist it must be tough to bring the full sonic vision to the stage?
Yeah definitely. I do solo acoustic gigs, so the songs are really stripped back. However some of them work really nicely, and it’s good to get out and play them to new audiences and meet people on the scene.

What has been your favourite Sunchymes moment to date?
That’s a difficult one. On one hand I would say recording the second album was the best time [2012’s Let Your Free Flag Fly]. On the other hand playing at the International Pop Overthrow Festival at The Cavern Club [2014] was great too.

What was the last “new” album you bought/streamed?
Cabin Life by Linus of Hollywood

What is your burning desire to do in the future? What plans do you have for 2019?
To keep writing songs, and hopefully do another album, as well as playing a few gigs.

 

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New Music Friday: Corinna Jane

Corinna Jane is a singer and songwriter who did most of her growing up in Northamptonshire. Known mostly for her pop-rock style [see her ‘Hard In Love’ EP from 2015,…

Corinna Jane is a singer and songwriter who did most of her growing up in Northamptonshire. Known mostly for her pop-rock style [see her ‘Hard In Love’ EP from 2015, for example], in recent times she’s dabbled in dance music, collaborating with renowned DJ Mark ‘Oh. Their single ‘That Feeling’ has just been released, already racking up over 40,000 hits on Spotify. Time then for New Boots to catch up for a chat…

Tell us about your upbringing. How did you get into music and begin singing?
I was born in Germany and lived the until I was eight years old. My mother is French and my father is British. I think music was always going to be in my blood, particularly seen as my father named me after a Bob Dylan song called ‘Corinna Corinna’! I owe all my love for music to my father. He would play piano and we would have singsong sessions; a particular favourite was ‘Streets Of London’ by Ralph McTell, which my guitarist and I have since covered on YouTube for sentimental reasons. This is when I began to start picking out melodies by ear as a toddler. MTV and knock-off tapes from his travels to China were other contributing things that my father would subject me to. However the desire to really want to become a singer-songwriter came from having seen Sheryl Crow on MTV and wanting to be as cool as her!

How did you get to work with German producer Mark ‘Oh?
Getting to work with Mark ‘Oh was a very luck twist of fate! He and his team discovered me on Soundcloud. They found it quite amusing that they specifically wanted to get a British singer, only to find that I spent my formative years in Germany and spoke the language fluently! I was very excited to work with him, as he’s a well-known DJ out there whose career has spun over twenty years, with a few number 1’s under his belt. They flew me out a couple of times and we worked on numerous tracks (some that are yet to be released), but this one was the one that had something about it that we knew was a bit of an ear worm – or “Ohrwurm”, as the Germans say [in fact we stole that term from the Germans!]

Tell us about ‘That Feeling’.
‘That Feeling’ is a very uptempo melodic dance track. For me it was particularly enticing to work with a genre that wasn’t what I had typically done before. Usually those who follow me know me to be a piano-driven, pop-rock kind of singer songwriter, but this was tapping into a different side. Mark ‘Oh and I wrote a catchy melody and I was keen to tell a simple romantic, yet relatable story. At the time of writing it, I was quite infatuated with a guy and for me it was a song of hope and just depicting “that feeling” you get when you are falling for someone. The sense of comfort and feeling safe when you’re with them.

Will you do more of this dance-orientated work in the future do you think?
I’d love to do more dance tracks. We’ve got another track coming out in the future, but I’ve also been approached by some other DJs to work on their tracks – so it’s quite an exciting new venture!

Most favourite and least favourite thing about the Northamptonshire music scene?
My favourite thing has to be the talent there. We are actually home to a lot of talented artists like Will Rogers, Hannah Faulkner, Greg Coulson and of course Billy Lockett, who is doing tremendously well now! I guess the downside to our music scene is that there isn’t enough to cater for us. Venues have closed down, some are more like clubs now than gig venues. Plus the public need to support musicians more by actually going to the shows! I guess this is the reason why many of us, like myself, have moved to London recently to seek more opportunities.

What plans do you have for 2019?
Solo wise I will be gigging across London and releasing some unreleased material that I’ve been sitting on. I’m currently making plans to shoot a music video/short film around my song ‘The Train’ – something glamorous and cinematic. This is a seed of an idea that I’m developing with some people, which will result in a crowd funding campaign. Aside from music I’m also a travel presenter, and we are about to launch a brand new travel show – stay tuned for that!

‘That Feeling’ is out now across all digital platforms. Visit https://www.corinnajane.com

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New Music Friday: L30 Robinson

L30 Robinson is a young Northampton-based tongue-in-cheek rapper who began releasing music in 2014, regularly collaborating with long-term friend and DJ Charlie Borthwick [aka CB]. In 2017 he released his first…

L30 Robinson is a young Northampton-based tongue-in-cheek rapper who began releasing music in 2014, regularly collaborating with long-term friend and DJ Charlie Borthwick [aka CB]. In 2017 he released his first studio album Wish U Were Here. He’s just dropped another of his masterful efforts, ‘3’7 – Size Don’t Matter’. New Boots chose the occasion to have a few words.

When did you start rapping, and when did you first take it out of your bedroom into the world?
Attending Weston Favell and having supply teachers was a regular occurrence, and one of the supplies used to play songs in his classes to get the kids on board and make him seem cool. I always tried to freestyle over the instrumental sections of the songs. Then when Charlie moved to my school in about 2011 he heard me in one of those lessons and said “yo I’ve just started making beats you should make a song with one” so I did and it all began there. I used his beat for a YouTube video shot in my bedroom then started making and uploading like 2-3 vids a week.

What were those crucial early influences that made you think, “this is for me”?
As a beginner I always struggled with flow, but I compared myself to rappers my level and I didn’t sound like any of them lyrically. I was always more mature with my lyrics and then people who watched me generally had the same feeling. I remember after a year or so I was shooting a freestyle for a media channel called SoSoBlessed and the cameraman Tera D said “Leo your flow needs work but your lyrics are crazy” and that’s really stuck with me to this day.

How would you describe your sound?
Straight to the point, lyrical storytelling.

What was the reaction like to last year’s Wish U Were Here album?
The feedback was really positive, but I think I came across way too dense. There’s one feature in the first song so it’s all me and it’s got like 18 tracks. I would’ve been better off staggering it into four EPs or something, but you live and you learn and it just means I’ve got 20 sick songs on Spotify.

Tell us everything about this new song, “3’7 – Size Don’t Matter”.
The song follows no direct story, it’s just one liners. The beat was made by Bak Beats [check him out on YouTube] and when I heard it I was just drawn into being aggressive with the lyrics but in a playful way as to not come across too harsh. For instance “Mistaken identity/Are you p*****?/That guy’s white and 6’6” is actually a true story about how Charlie got beat up in a nightclub in Kettering and the bouncers walked straight past the guy who did it, threw me out, then the police arrested me – only to release me later on. Chaos.

How do you approach your live performances? Faithful recreations your thing, or do you improvise?
We rehearse our sets. I always change the song order and try to add something different to each show. At NMF 2016 me and Charlie finished our set with a screeching flat line sound playing and walked down the road for a beer leaving everyone confused about what was going on.

Do you feel part of a wider scene in Northampton? Any favourite acts or venues?
I feel more connected with the local bands that any rap scene, although Lay it down is changing that. Shout out to Leon Denton he’s working hard to form a rap scene. I don’t wanna start naming acts then forget someone but I’ll give you this: when me and Charlie won Northampton’s Best Young Musical act in 2016 at the Roadmender that was special, not just to win it but I’m the only rapper to ever win it. As a rapper I was already at a disadvantage because people would put me in a box and say “it’s not hard”, as I wasn’t playing an instrument, yet some of the bands they were supporting played a couple covers standing still with no stage presence whatsoever – not exactly difficult.

You were recently on ITV2 show ‘Don’t Hate The Playaz’. Tell us about that.
That was hooked up by Leon from Lay It Down. He was contacted by ITV and he passed on some details to me. They liked my material and it all went from there. It’s an amazing thing to see of course, but normal people are on TV everyday. I’m just glad I took my opportunity, but I’m hungry for more.

What was the last album you bought/streamed?
Jay Rock – Redemption. Awesome album, literally complete. It’s got hits, deep songs; it makes you want him to win. Jay Rock is so underrated.

What is your burning desire to do in the future? What plans do you have for 2019?
I need to perform more out of town. I’m thinking if I can bag like two shows a month then I’ll be happy with that. The music I’ve got stored will take care of me online, so I now want to make a more physical reach out.

 

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New Music Friday: Jasmine Burns

She lives on a narrowboat that travels back and forth between Northants and Bucks. She creates bluesy Americana. She has a fabulous new EP out. She is Jasmine Burns, and…

She lives on a narrowboat that travels back and forth between Northants and Bucks. She creates bluesy Americana. She has a fabulous new EP out. She is Jasmine Burns, and New Boots had a chat with her.

How did you get into music, and then begin to play an instrument and write?
I grew up in a family where no one was a musician or could sing, but my folks were lovers of music. From a very young age I could hold a tune. I vividly remember my Mum playing Blondie and David Bowie tapes in the car and I would sing along on the way to nursery. During primary school I took trumpet lessons, which I absolutely hated at the time. But there was a fellow student that could play guitar and I was instantly inspired. I begged my folks to pay for tuition, but they could only afford to buy me a guitar. So I took it upon myself and took out a book from the local library and sat down each afternoon after school and practiced simple chords until I could just about play a song. I still have said book at home! I’m scared that a librarian is going to find me one day at one of my upcoming gigs with a massive fine! From practicing simple chords I started learning favourite songs, and soon enough wrote my first song at the age of 13. It was god awful, but you’ve got to start somewhere.

How would you describe your sound?
My sounds is very much a mixture of a lot of genres. I take inspiration from a lot of sources, and not only music that is similar to what I write. I really struggle to put myself into that one box. My material varies so much from something that is distinctly country, to other songs that would be considered bluegrass or Americana. But, I feel I’ve really churned them all up and put my own stamp on it. My sound is sassy and strong. 
 
Who are your main influences in music?
My influences have changed so much throughout the years. In the early days of my writing I would listen to a lot of Fleetwood Mac, The Eagles and Neil Young. Recently, I have been heavily influenced by a lot of early blues artists, such as Otis Rush and Son House. But, most notably, Shakey Graves has been my main source of inspiration over the last four years. I’ll be seeing Shakey Graves on the November 13th at KOKO in Camden.
 
You live on a narrowboat – how does that effect your creativity?
A lot of my songs are based around my life and thoughts, so occasionally living on a narrowboat will come up in the subject of my songs. But I wouldn’t say its affected the style of my writing. I do a lot of other creative things, such as painting, sewing and crocheting, which are influenced by traditional canal culture. Music has always remained sort of separate. But I suppose there must be some kind of relationship, as boating is part of me, as is writing songs. 
 
Tell us everything about this new EP, Homesick.
My new EP came about when my local venue asked me if I wanted to put on an event with me as the headline. I jokingly said, “why don’t we make it an EP launch?”. At that point some of the songs weren’t even written, let alone recorded. Hah! But that’s how it all got started. I decided right there and then to release this new EP. Two years ago  I released a live EP that was really well received. So I figured, what the hell? It’s bluesy and it’s gritty. With a few tearjerkers thrown in for good measure. The EP is somewhat of a concept, in that all the songs reference the word Home. Everything that has gone towards making this EP has come out of my own pocket. It has all been recorded by myself on my Laptop using Garageband. The majority of it was recorded at home on my humble little narrowboat, and in my friend Craig’s living room. Featuring on the EP is Craig Stoker and John Cadden-Lawrence from local Northampton band Mojo Mules. They brought a really great energy to the record.
 
What are your live shows like?
I would say that my live shows are a space for people to have a good time and dance around. A lot of my songs reference a lot of life’s troubles. So I’d like to think it’s a space for us all to relate to one another. 
 
Are you part of a wider scene in Northamptonshire/Buckinghamshire? Any favourite acts/venues?
I have been frequenting a local open mic night called The Sunset Lounge, in Newport Pagnell, for the last three years now. It’s an incredible space for all musicians to showcase their music and themselves. The room always has a great vibe and welcoming feel. The guys that run the night have made me feel like a part of the family these last few years. I wouldn’t hesitate to say its my favourite music night or venue out there at the moment. Every Thursday at the back of The Cannon in Newport Pagnell. Be sure to check it out on Facebook for weekend events too.
 
What has been your favourite moment of the past year?
I’m going to have to say the process of making the new EP. I really threw myself into the deep end with that one. It was so much fun, but a real learning curve. One thing that I’ve really taken away from this situation is that it’s OK to ask for help.
 
What was the last album you bought/streamed?
I have been listening to Songs Of The Plains by Colter Wall a lot lately, and revisiting his back catalogue. His voice to me is so soothing. It’s like a warm coat on a winters day.
 
What is your burning desire to do in the future? What plans do you have?
I’m the sort of person that it’s all or nothing. So the plan is to just keep going. Keep pushing the EP and keep fighting the good fight. Oh, but if anyone can help me make it happen, I’d love to play some small stages at big named festivals in 2019.
 
 
 

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