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The Willowz
Fifth
Thrill Me

Visit The Willowz at Facebook and iTunes

California-based garage punk rock band, The Willowz, is back with more of their trademark fusion of punkrock and blues. The trio of Richie James Follin (Vocals and Guitar), Jessica Anne Reynoza (Bass Guitar and Vocals) and Loren Shane Humphrey (drums) haven’t lost their edge and in comparison to previous work, Follin has done a most sound-worthy job of getting the mix to the next level. The album takes off with melodious and catching “Don’t Let Them See” and “Never Let You Go” at just under two minutes offers up a brilliant adrenaline rush. The final track “Lily” is an achievement of richness bolstered by instrumental (string) embellishment. Not to take away from the sheer enjoyment of listening to the album, but you might want to put on a set of high-end earphones and pay attention to the technical work on this contribution.


Black Honey is a forcible indie rock band fronted by Izzy Baxter whose powerful, yet dreamy vocals captivate audiences. The Brighton-based band’s members are Izzy Baxter, guitarist Chris Ostler, bass player Tommy Taylor, and drummer Tom Dewhurst. HorizonVU first got to know Black Honey at their Paris performance in January and the band’s videos have been repeated posted on our social media pages. Black Honey performs Tuesday, 19 September at Paris’ Supersonic. We’re fortunate to have caught up with Izzy prior to the 19th show.

HVUM: Hey, first off, thanks for your time. Let‘s start by talking about one of the band’s power songs that resonates with fans. What can you tell us about “Corrine”? How did it come together?

IB: Corrine is about honouring both friendship and fuck ups equally.

HVUM: We know Black Honey is a Brighton-based band and that you, Chris Ostler, Tommy Taylor and Tom Dewhurst have known each other for a fairly long time. We don’t know very much about you apart from the band. What’s a side of you that most people don’t know about? Give us a run-down on Izzy.

IB: I am a creative so I love to paint and draw. In my free time I give my friends stick and poke tattoos or go around charity shops looking for cool weird things and cult movies. I’m writing a poetry book too, though I think that’s something very typical of me.

HVUM: Did you deliberately point your life’s compass toward music or was it more happenstance?

IB: It was kind of both, I had to work really hard to learn the more technical side of music. I am a slow learner, dyslexic and pretty much have no rhythm. But was completely mesmerised with the emotional draw it had on people and I have always been a very determined person.
It was really no other way for me.


HVUM: There’s a photo of you on Facebook in a jacket with “Problem Child” on the back. Are you really a problem child? How so?

IB: yeah, I’m fucked up. I think that’s ok though, I think everyone is a little fucked up really.

HVUM: Generally, what motivates or inspires you?

IB: I guess it’s all about figuring out the world around me by exploring myself and my surroundings. Artistically I love Andy Warhol, cult movies, seeing the world with my band. I like weird things like guitar tones that conjure memory or beats that feel fierce or twisted.

HVUM: When you perform, what do you want your audience to feel?

IB: I want them to forget all of their worries for a moment.

HVUM: Let’s have a listen to another Black Honey power song, “Headspin”.

HVUM: Critics have praised the song and framing it as Lynchian, meaning something like an uncomfortable sense that you’re in someone else’s dream; the familiar becomes elusive and dark in a weird sort of way. Your view on the song?

IB: yeah that’s pretty spot on, I guess through exploring this weird dark swaying romance I find the colours and the lights in a more honest but complicated way.

HVUM: Technical question…As far as gear is concerned, we see you with the Squier J Mascis Jazzmaster. What do you like about it?

IB: I like that it sounds great, has a tremelo arm, really nice tones on both ends of the pick up switch, it’s light, cheap and sturdy so I can throw it across the stage as much as I want.

HVUM: Finally, if you could be invisible for a day, what would you do?

IB: I think it would be quite fun to push Trump down the stairs or maybe pull his trousers down during his next rally.

Izzy, thanks very much for meeting us. We look forward to seeing you, Chris, Tommy,and Tom on 19 September. We’ll be there in force and for our Paris followers know that Black Honey will be back in Paris 31 October opening for Royal Blood. Well done!


World Radio Paris’ Jessica Brassington explores the city’s music scene on Paris Music Fix – a show full of interviews, music and a run down of the week’s best gigs. A graduate of University of Sheffield with an MA in modern history, Jessica has worked on several projects on cultural research in theater and film. Her radio experience includes broadcasting and production. As a journalist, she specializes in music, interviews and website content.

Special feature this week on electronica duo Vök with an interview after their concert last week at Le Point Ephémère. Vök was formed in January 2013 by singer Margrét Rán and saxophonist Andri Már. The band was formed to enter a annual band contest, “Músíktilraunir,” competition in Iceland. The problem: They didn’t actually have any songs to perform. Within a matter of weeks, Vök composed several tracks and performed them for the very first time at the band contest. And you guessed it … Vök won the competition. The duo became a trio at the start of the summer 2013 when they introduced guitarist Ólafur Alexander to the fold.
Subsequently they recorded and released the EP, ‘Tension’ via Icelandic indie label Record Records.

Described as dream-pop/indie-electro band their sound consists of dreamy electronics with melodic vocals, distant saxophones and clean reverberated guitars. Vök is easily placed in the realm of indie-electro, thus resulting in everyone from The Knife and The xx to Poliça and Phantogram, but their music is distinctly their own.

Listen to their latest tracks on Soundcloud and follow them on Facebook

Comments or suggestions for the program? Contact jessica@horizonvumusic.com

For WorldRadioParis.com


Midnight Sister
Saturn Over Sunset
Jagjaguwar

Visit Midnight Sister at Facebook and iTunes

This genre-defying debut release from duo Juliana Giraffe and Ari Balouzian, “Midnight Sister” (co-produced by Alex Izenberg), conjures up a gripping music buffet of pop; groove; Southern European yé-yé à la manière de Serge Gainsbourg; Beatles-esque, Moody Blues-y, Bowie-Visconti “Space Oddity”(get the idea?) Mellotron-fuelled wafts; woodwinds and strings that are sure to play on your psyche. It’s been said that the album is Hollywood cinematic, which is true, but moreover, it is an mature standout in the line of new releases this year offering the listener a journey, which might feel uncomfortable or weird at times, but it’s worth the ride. You’ll surely be swept off your feet by “Blue Cigar”. The instrumental “The View from Gilligan’s Island” has elements of Baroque pop and with “Showgirl” you’re likely fall into that heightened, magical world of the musical production. By the time you reach the final track don’t be surprised if you feel like you’ve been immersed in a Lynchian surreal exposé where the familiar seeems strange – “Mulholland Drive” or “Twin Peaks” Bang Bang Bar – but you’re alright and with “Their Eyes” Giraffe’s mesmeric vocal will leave you feeling that the journey has ended happily and the end credits are rolling.


HVUM: LOCK is Gita Langley Harcourt (vocals, guitar, synths), Edie Langley (vocals, guitar) and Gabi Woo (drums). HorizonVU Music has been following LOCK for many months now having first came upon the music, while through videos on YouTube and our team has been hooked on LOCK’s dreamy and ethereal sounds ever since. The compositions are impressive, and the lyrics darkly romantic. Certainly, there are elements of pop, pop-rock, grunge and shoegaze, but it’s probably best not to pigeonhole the group’s music, but rather take in the sensual and unerring realization of music emanating from dazzling vocals and instrumentation. LOCK has certainly received critical praise, but deserves to be far more out front and center.

It’s a real pleasure for HorizonVU Music to have the chance to connect with you for a visit. Let’s talk a bit about your background, what’s been going on with Lock and talk a bit about the future.

We’ve done our homework reading your profile and interviews that you have done. We understand that you are London-based and that, Gita and Edie, you come from quite the musical family.

We have a following of young female emerging musicians and they like to hear about success stories. Can you tell us how your story evolved? What drove you towards the joint project, Lock? How did you meet up with Gabi?

GITA- Edie and I have played in bands together before and we’ve sung together and played along side our siblings since were were really little. A few years ago I was getting more into production and we were both wanting to start a new project that was a little darker, more cinematic with electronic elements but still using live instruments. Our sound is constantly evolving because we are inspired by new music, films and books that we are obsessed with. We were on the hunt for a badass drummer to join our band and a friend hooked us up a meet with Gabi.

EDIE -Gabi just fit perfectly, and she leaves our tummies ripped from laughing.

HVUM: Just an observation, Gita and Edie, I think it’s fair to say that you project different personalities? Is that a reasonable perception? Intentional? How do you connect with one another on and off-stage?

GITA-Yes, Edie’s the baby of the family – out of 8 kids… that’s gotta count for some personality traits ha. I’m in the middle, poor me…. yeh, well I guess we do project different personalities on stage.. And I think it’s cool that way. I feel like behind my synths i can shut my eyes and be the introvert in a way…. Edie has more badass in her blood…. Edie?

EDIE-I think we are both much for confident on stage than we are if you came up to us in the street. At school everyone thought that the Langley girls had a constant resting bitch face so I’ve spent years perfecting a daily happy smile so people don’t hate me when they first meet me. I guess we are kind of different too but we are the most similar out of all of our siblings and we usually turn up to band practice in the same outfit so…great minds…

HVUM: When you look back from where you are today were there any real unexpected challenges along the way? How did you or how do you get over the bumps?

GITA-Unexpected challenges… Yes definitely. I’ve suffered from chronic nerves in the past….when I was studying violin at The Royal Academy Of Music I felt like my world was going to end. It was quite competitive and I don’t think my soul could really handle that sort of an environment. When I left and I began writing and performing my own music I feel like I found my feet and a weight lifted in me.

EDIE- I was never ever nervous about being on stage before being in LOCK. I could sing on any stage in front of anyone and I would just thrive off the buzz, but now I have serious butterflies and panic before most gigs. I think it’s because I really care about this and don’t want anything to go wrong. We’ve had a few gigs that have had horrific sound in the monitors and we haven’t been able to hear a thing so I dread that happening again, but we dealt with it and it makes us more aware of what we need to hear/change.

GABI: I also suffered so badly from nerves. Growing up I was so quiet…. Like Edie and Gita, I studied music from an early age and for most of my childhood I was at home practising piano or flute. There was such a pressure to pass all the grades and that made me even more nervous. I always knew I wanted to do something in music but to be able to do it I needed to find another instrument… something that I guess I wasn’t expected to be good at. I spent years going down the classical route so the only way out of it was to learn the drums. When I play the piano (the instrument I am best at and even teach), I fall to pieces, but when I drum its as if I become possessed and for that 30 mins on stage I turn into an animal.

HVUM: Oh yeah, animal is good! The music market is pretty crowded, especially the market for popular music. What do you thing really gives your work the force of music personality?

GITA- We like to think what we are doing is pretty unique. I wouldn’t say we exactly sound like anyone else at the moment. I think we come from a genuine place and it’s honest so hopefully people will connect with it.

EDIE- Yeah we do what we do and just hope people love it as much as we do. And if they don’t then fuck it.

HVUM: One thing that we’ve noted is that your music can handle diversity, always staying to gripping harmonies whether you’re performing acoustic or electro. How do you see your music as far as cross-genre versatility is concerned?

GITA-Yeah, we love the harmonies.. I think it stems from our classical days – it’s just so damn pleasing!! I think, being sisters, our voices – even though they are quite different – have a familiar tone.

EDIE- I’d say we are pop with some indie/grunge and some Andrew sisters thrown in.

GITA -Are we radio 1 or radio 2? We don’t know… It’s a mind fuck really so we will just carry on making the music we want to make and see how it all pans out.

HVUM: Excuse me a second…For readers who aren’t familiar with the Andrews Sisters, breakout those 78s in your grandparents collection and groove on some great swing and boogie-woogie. Okay, back to LOCK, let’s take a look and listen to how well you can mix it up with «New York vs Paris”. Let’s have a look and listen.

HVUM: What’s the story behind “New York vs Paris”?

GITA- New York Vs Paris is really just a daydream… imagining yourself far away… choosing between two amazing, vibrant and romantic cities. It’s loneliness and heartache all wrapped up in a snow globe.

HVUM: Okay. Just for fun, as far as LOCK is concerned, what is the funniest thing that has happened to you lately? Really funny!

EDIE- Gabi’s face when we busted her sending tit pics

HVUM: Finally, if you had to describe LOCK as an animal, what would it be?

EDIE- We’d be a leopard obviously cause we (i) am obsessed with everything and anything leopard print. And we fierce!!

HVUM: Thanks so very much for taking time to meet with us! Where can we look to see you live? Any new recordings or merchandise coming online?

EDIE- We are headlining a really great night at The Box in Soho on September 28th and we’re supporting the Libertines in Hull and Lowestoft for part of their seaside tour and we literally cannot wait. We’re gunna make the rest of this year ours.

GABI – We are about to film a video for our new song ‘Hey Compadre’, which will be out later on in the year. Stay Tuned!!

HVUM: And that we will! Thanks very much for taking time for us. We thoroughly appreciate the visit and we will be following you on your journey. We wish you total success going forward and…visit us in Paris!
Close (HVUM)

Visit LOCK at

Facebook

Twitter

Spotify


World Radio Paris’ Jessica Brassington explores the city’s music scene on Paris Music Fix – a show full of interviews, music and a run down of the week’s best gigs. A graduate of University of Sheffield with an MA in modern history, Jessica has worked on several projects on cultural research in theater and film. Her radio experience includes broadcasting and production. As a journalist, she specializes in music, interviews and website content.

Kayleigh O’Connor is a young indie-pop singer and musician from Canada who released her first EP in 2014. She’s now on a European tour and Jess Brassington caught up with her at Le Motel, in Bastille.
Listen to more on KayleighoConnor.com

Comments or suggestions for the program? Contact jessica@horizonvumusic.com

For WorldRadioParis.com



L.A. Witch is Sade Sanchez, Irita Pai and Ellie English. The L.A. based band charcterizes it’s sound as “reverb-soaked punked out rock” which is certainly accurate, but fails to capture what is reasonably the darker side of their sound. It is the ghostly or unreal and other-worldly dimension of the band’s tracks that gives the listener cause to think of witches, although the band does not connect into the beliefs or practices assoiciated with witchcraft. Interestingly, the band’s work has been referred to in context of the surreal and disconnected apprehension associated with works of David Lynch. So, whether you connect with the band’s post-apocalyptic groove (desert punk) or the more raucous garage rock, L.A. Witch is a band you do not want to ignore. The band is on tour in Europe and will be in Paris 16 September at Batofar.

Thanks to the support of manager, Andrew Rossiter of the Hooley Group, we caught up with drummer Ellie English getting a better view into the world of L.A. Witch.

HVUM: Hi Ellie. Thanks for taking time out to speak with us. How did L.A. Witch happen? How did the three of you meet up and decide to become a band?

ELLIE: I met Sade in High school and we had a 2-piece band together. After our departing we met up a few years later when L.A. Witch was looking for a drummer. I’ve been in the band 4 of the 6 years the band has been together.

HVUM: What do you most hope to bring to the music scene and to your followers?

ELLIE: I just want people to enjoy themselves.

HVUM: Your music has been put into the context of a marriage connecting 60’s girls-in-the-garage charm and David Lynch’s surreal

Ellie English

exposés of Southern California underbelly. This sounds like a declaration of raw energy coming to life in someone else’s dream. Is it a meaningful way to think about your work? How so (or not so)?

ELLIE: I see it as something we enjoy and we play what we are inspired by.

HVUM: You have an upcoming album release – self-titled “L.A. Witch”. Who have you been working with and how have the collaborations influenced the album?

ELLIE: I really miss the raw sound that we have live. It’s been very hard feeling to capture.

HVUM: Yeah, for sure. While it does not capture the live delivery, let’s take a look and listen to what might come closest, the official live video version of “Kill My Baby Tonight”.

HVUM: Do you worry about the market – meaning where your music will end up and how it will be heard? Do you grow and evolve detached from commercial concerns?

ELLIE: It will end up where it ends up. One thing I’ve learned about touring is that lots of bands sound very different from recordings than they do live.

HVUM: Considering your live performances, what works especially well for the band? What is your worst nightmare (experience)?

ELLIE: Worst nightmare-Acoustic performances.

HVUM: Thanks, Ellie for your time. we’re looking forward to seeing you, Sade and Irita on 16 September and we encourage our followers to add L.A. Witch to their collections!


INHEAVEN
INHEAVEN
PIAS

Visit INHEAVEN at Facebook and iTunes

INHEAVEN are a four-piece alternative rock band from South London with members Chloe Little (bass, vocals), James Taylor (vocals, guitar), Joe Lazarus (drums) and Jake Lucas (guitar). There’s just no other way to say it, but this debut album rocks big time! Yes, there’s some shoegaze, but it’s artfully blended with dominant rock and grunge, so it’s certainly not more dream pop and you won’t get sucked into dreamblends of undifferentiated sounds (of which the market offers plenty). The opening track, “Baby’s Alright” offers up an excellent up to now/then statement on American culture which is surely enough to get Mr. Trump raging away on Twitter. Politics aside (not possible, really), it’s a rocker brought to accentuated heights by Joe’s drums, Chole’s bassline, and buzzed guitars. And while there’s been a lot said about the tracks “Bitter Town” and “Regeneration” (neither should be ignored), there’s still a preference here for the uncontrolled agitation of the band’s debut single, “Bitter Town”. Add the album to your collection for it’s social sensitivity and fanfuckingtastic alt-rock.


A must read…Joe Coscarelli, New York Times…
“Rock’s Not Dead, It’s Ruled By Women: The Round-Table Conversation”

“…as we’ve spoken among ourselves about the music that most excites us, we have consistently marveled at how much outstanding rock music is being made by female and non-binary performers who work just below the surface of the mainstream.”

A special multimedia presentation of this story will appear online Tuesday at nytimes.com/music.


Sally_newsfeedSally Morgan wrote the book on contemporary vocal technique – literally. Sing Like You Speak™: Simply and Naturally. SLYS™ is specifically designed to restore the effortless vocal production that is natural to the human instrument making your singing powerful, joyful and free. Sally has been successfully training singers for more than 30 years.

What Is Singing? Seriously. What Do You Think?
by Sally

Your body is smarter than your mind. Your body is your singing instrument. So why does singing seem to be so difficult? Sing Like You Speak™ is here to teach you it ain’t necessarily so.

Breathing is completely natural. You are reading this, so your breathing is working – you are alive.

And yet when it comes to singing, we second-guess or even doubt the body’s natural ability. We actually override nature by overthinking the process and relying on the mind to ‘figure it out’ instead of trusting the natural process of breathing and phonation. We actually invite the mind to participate in a perfectly natural process.

Does this sound familiar?

You take an inhale and you immediately think, that isn’t enough air to get through the phrase! So you push and pull at the muscles of your abdomen to “help” your singing process.

But guess what? You run out of breath even faster!

That’s what happens when you take a subconscious process – breathing – and make it a conscious process.

The purpose of your inhale is to open the whole instrument. It is to open your resonators, release the jaw and larynx and open all the way down to the lower back and abdominal muscles, thus activating those powerful muscles that will naturally work to propel breath and sound easily through your open instrument.

When I was developing Sing Like You Speak™ my contemporary vocal technique, I could not ignore the fact that singing is natural. And if singing is natural and breathing is natural – what makes singing so difficult?

Makes singing difficult…

Voice teachers who tell you to manipulate and force the physical instrument
Trying to imitate most singers recorded after 1997 where the singer has been recorded (first was Roy Vedas Fragments of Life) and then a sound engineer has manipulated the voice for better pitch, tone quality, rhythm. You are not listening to a voice but to an electronically altered sound that cannot be imitated by the human instrument.
Myths or false thoughts about the effort involved in singing
Trusting the mind and not the body
Sing Like You Speak™ always uses the natural physiological process for simple, healthy signing. Your inhale is to open the instrument. Done right, releases the jaw, tongue and larynx, opens resonators and activates the very intelligent low abdominal and back muscles. That sound like a lot to do but it can be achieve with one thought.

When I have new voice students who has studied voice with another teacher in the past there’s always a conversation that goes something like this.

Student: That’s it? That’s all you do to inhale?

Sally: Absolutely! A simple opening inhale.

Student: But how do I get enough air to sing a long phrase or to sustain a pitch?

Sally: With a simple opening inhale. It seems you want to feel how much effort you are using to breathe.

Student: Of course. The effort tells me that I’ve gotten a good inhale.

Sally: Aren’t you taking lessons to learn how your singing can be effortless?

Student: Well, I didn’t really believe that it could be easy. My last teacher taught me to push out on the inhale and pull in like crazy to exhale.

Sally: Yes, that’s typical old-school teaching. Let’s experiment with a simple, opening inhale.

First step is a simple, opening inhale…

Align your instrument collarbones wide, head on top of the body
Release the jaw and tongue
Feel as though you are opening your instrument all the way to your bottom
Blow the breath out and simply observe how the abdominal and lower back muscles are working – just observe to not interfere.
Use the above breathing process for our experiment proving how brilliant the body can be. No pushing or pulling of belly muscle allowed!

Experiment 1

Perform a simple opening inhale as described above
Exhale saying an FFFFFF
Observe what muscles are working

Experiment 2

Perform a simple opening inhale as described above
Exhale saying a VVVVV (be a motorcycle)
Observe what muscles are working

Experiment 3

Perform a simple opening inhale as described above
Exhale saying a ZZZZZ (be a bumble bee)
Observe what muscles are working

Experiment 4

Perform a simple opening inhale as described above
Exhale sighing an MMMMM
Observe what muscles are working
What did you observe?

If you were able to perform the simply opening inhale then with each experiment you felt a different set of muscles working. The physical intelligence of your instrument chose which muscles to use. Your physical intelligence simply knows what to do. Your mind cannot possibly figure out how to use different muscles for different consonant sounds.

I love the fact that my physical intelligence takes over the singing process when I allow it to. Taking the process out of my mind and putting it into the body where it belongs lets me focus on the music, on phrasing, on character, on enjoying the massive vibration of my sound and having a blast doing so!

Click here for the best voice lessons on the web!


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