Tag Archive: HorizonVU Music


Wolf Alice
Visions of a Life
RCA

Ellie Rowsell (vocals, guitar), Joff Oddie (guitars, vocals), Theo Ellis (bass), and Joel Amey (drums, vocals), aka Wolf Alice, have put forth an album of rock, grunge and shoegaze blended with lyrics that are sometimes melancholy and sometimes hostile or pernicious. The band’s arguably at its best in dreamy alt-rock as with the opening track “Heavenward”. The bad-tempered “Yuk Foo” brings out rage and hostility – “I want to fuck all of the people I meet” and “St. Purple and Green” alternates between a composition which is mellow and wet and grunge. The final track “Visions of a Life” is an adventurous journey through disquietude clocking in at just under eight minutes. In addition to the performance, the track is notable for both it’s production (Justin Meldal-Johnsen) and mix (Tom Elmhirst).


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.

Find Your Signature Sound
by Sally

I love Broadway musicals and I love singer-songwriters and their creativity and I love pop music. But frankly I’m getting a bit bored by it all. Why?

Each genre has a vocal “sound” that has become the ideal and it seems that almost everyone sounds the same! What happened to unique voices? What happened to individuals sounding unique – sounding like themselves? Isn’t that what artistry is all about?

You can probably hear my frustration jumping off the page! I train singers. I train them to use their natural instrument as it was meant to be used and get out of the way. I train singers to find their unique, signature sound. Why be a bad imitation of someone else when your natural sound is so compelling?

You may be thinking that your voice isn’t all that compelling – unless you do something extraordinary when you are singing. That just ain’t so.

What is most interesting to an audience is simply – you. What makes your voice unique and how your voice sounds naturally.

The majority of the training I do with singers is to help them get out of the way so their natural voice can sound.

Here are some singing tips that help to promote your signature sound…

*Use your inhale to open your body, your instrument
*Open all the way to the pubic bone to engage the powerful low abs and back muscles
*Let those powerful muscles do their job without interference
*RELEASE your breath and sound as you sing
*Observe – do not judge – observe your voice and how it sound
*Observe – do not judge – observe how your abs are working
*Let it work without pushing or straining

Voice work is always best done with a great teacher because it’s counterintuitive. What you think should be right 99.9% of the time actually adds tension that strangles your signature sound.

SING OUT WITH COURAGE AND CONVICTION!!!

Click here for the best voice lessons on the web!


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.

Jess Brassington spoke to Jessica Gabrielle, a Franco-American musician who has settled in Paris, and brings you the usual music releases and recommendations for the week. From Amy Winehouse to Joss Stone, Jessica Gabrielle’s musical universe mixes her powerful voice with popular rhythms to create a soulful and groovy atmosphere.

Visit Jessica Gabrielle at http://jessicagabrielle.com/


HVUM: Katie Garibaldi is an international, multiple award winning singer-song writer based in San Francisco. She’s best known for her “to die for”
expressive and richly beautiful soprano voice matched by intelligence and charisma. She regularly engages audiences across the United States and her multiple studio recordings bring new meaning to the Americana-Folk-Acoustic tradition.

HVUM: Katie, it’s so great to have you with us. We’ve been following you for years now, so we know something about you from listening to your award winning songs and watching your performances, but tells us about your background. How did you first become interested in music and pursuing a career in music?

KG: Thank you, and the pleasure is all mine! I became interested in music way before I had any experience with instruments. I feel like the music was always inside of me and when I learned the guitar around age 11, I finally had my way of bringing the music from the inside out. I’ve always been a melody maker first and foremost so I would sing melodies all the time and words would eventually form out of them. My parents always had on records from the Beatles and the Beach Boys for me and my brother growing up, so I think that just fueled my love of melody even more. I learned the piano because my mom plays, and though I loved the sound, it didn’t inspire me to song write. But the guitar was like my magnet for songs. I started performing in high school at cafes and volunteered at retirement homes to sing my music for the residents. Looking back on it, I think that was a really crucial time when I was seeing that music had a healing impact. I remember a time when I played at a local cafe and I must have been about 16. I sang some song of a broken heart and a man came up to me afterwards and said he was touched by everything I said in my song, and then proceeded to ask me for advice about his marriage. I think he and his wife were contemplating divorce and he was asking me what I thought he should do. It’s really funny when I think about it now—picture this 16-year old shy girl sitting at the counter drinking her tea and this stranger asking her for marriage advice. I was probably terrified! Haha. But these types of moments just show how music brings us together in the most basic human form. It doesn’t matter what age we are or where we come from. We all go through the same things and music reminds us that we’re not alone. In high school I recorded my songs at a friend’s house and made CDs to give to people. Pretty soon I started selling them and I became more interested in how to be an independent artist as a career. I started educating myself by going to music business conferences and reading books about it and I got really into the marketing side of things. So I became aware pretty quickly that this was my path and there was basically no going back because I was too in love with it already.

HVUM: Did you receive formal training along the way and did you have any teachers or mentors that inspired you to become a professional musician?

KG: When I was in elementary school, my teacher one year had an acoustic guitar and she would regularly have these singalong sessions where she would play and sing folk songs with the class. I was also in the school chorus and the teacher led us with an acoustic guitar. I was completely obsessed with the guitar and it was love at first sight! I would look at it with stars in my eyes. Both teachers were women and I think seeing these women sing and play this magical acoustic instrument was pivotal for me. I asked my parents for lessons, and my brother wanted to learn guitar too, so we took private lessons. I knew it was my instrument after the very first day. We took lessons for a few years, but I was a pretty bad student. My teacher would give me exercises and scales to learn, but I would go home and just write a bunch of songs instead of practicing. Pretty soon I would stop pretending to act like I had done any homework and would just bring him the songs that I wrote or ask him how to play a Jewel song or something. But he was a great teacher and I learned what I needed at the time in order to express myself.
HVUM: You studied at Notre Dame de Namur University, were your studies there influential in driving your music career?

KG: Yes, they really did. Though I knew music was my love, I knew from the get go that in order to do this as a career, I needed to learn the business side of things. So I majored in Communications with a minor in Business and took classes on marketing, advertising, website design, public speaking, etc. I learned how to write a press release, what it took to make a marketing plan, and things of that nature. I tried a music studies class, but it wasn’t as exciting as just doing music, which I was doing while in college—gigging and touring. So I focused on the business of it and I used so much of what I learned when I was starting out, meanwhile gaining live performance experience. I was able to take over my own website with the program I learned and really got my business going. While in college, I was able to intern at music related companies and for my communications senior final, I was able to interview guitar player Joe Satriani and go to his concert with a ‘press’ pass. It was great!

HVUM: Recognizing that you are more than capable across genres, you are widely recognized for your Americana roots. What is it that draws you to that acoustic-folk tradition?

KG: There is something special about the sound of an acoustic guitar that makes my soul feel at home. It conjures something that is bigger than me and can sort of take me out of my body. To me, there’s nothing more vulnerable than a singer standing with his or her guitar, playing songs written from the heart for people to witness. It’s a strange dichotomy of real and otherworldly; beautiful and scary; weak and strong. I enjoy electric and big production music too, but a song for me needs to hold its own with just a voice and single instrument like the acoustic guitar or piano, for me to go deep with the music. I feel like there’s a real rebellious nature to it too. Like, since I started out doing music everyone in the industry would try to tell me what to do, trying to put rules on music: “You can’t have a song title with only one word. You’re not supposed to have that long of an intro. The chorus should start at less than a minute into a song. This doesn’t follow equation XYZ!” I’ve never listened to anyone when it comes to “supposed to” in songwriting because music is not “supposed to” have any rules, at least that’s how I feel about it. I mean, what happens if a chorus is one measure “too long?” Do we all die? Does the world implode? What happens?! I’m not interested in music with rules or the anatomy of a hit song. I’m interested in whatever moves me. I’m interested in what heals and has an emotional effect. And when it’s just a singer with their acoustic guitar playing whatever they want however they want, that’s just badass to me and I love the freedom of it. No click track, no amplifiers, no barriers, just the ebb and flow of a story with a melody.

HVUM: We listen to your music posted on Soundcloud. Your most recent song there is “I Am”. Tell us about that song? What is behind it?

KG: “I Am” is from my EP release Rooted Clarity, which has a theme of discovering faith and the true roots of ourselves. At one time I was feeling alone and misunderstood and just kind of lost. One morning I was drinking my coffee in a sun spot at home and got that itch to pick up my guitar. My fingers quickly went to these chords and I started singing a melody, and it happened so fast that I grabbed my notebook and started scribbling down lyrics. The song felt like it wrote itself. I finished it and sealed the deal with writing “I Am” as the title. Then I reread the lyrics and I realized that the song was actually from God’s perspective and he was talking to me. In a way, he was answering my unspoken prayer through a song: “When you lay your head down thinking nobody cares, and you look around thinking nobody’s there, I am.” It was honestly a really emotional moment when I realized what the song was saying, and an extremely healing experience for me. I think God has this really fun sense of humor too and in the days following, I kept coming across references to God as “I Am,” which I hadn’t thought of when I wrote it! I would hear on TV, “…and God, the great I Am,” or read in a book a really random reference to God as “I Am.” And the obvious reference in the song dawned on me. I just walked around laughing all week like, “Ok, I get it!” It’s always an emotional one for me to sing live because I think it’s an important message for people to understand that we’re never really alone and that we are loved.

HVUM: Let’s have a look and listen to “I Am” performed live at Two Old Hippies, Nashville!

HVUM: Particularly for our young aspiring artist friends it’s always interesting for our guests to share “war stories”. Along the road, you’ve no doubt had some really great “ups”, but just about everybody in the business has at least one experience they could have done without…can you share a high and a low with us?

KG: There are so many highs but one that just came to mind is when I recorded my album Follow Your Heart and got to work with an orchestra arranger (Minna Choi) on writing string parts for a few songs. I have always loved stringed instruments and had gotten a small taste of having a violin on a song or two in the past. But when I got the opportunity to work with Minna, I was able to really dive in during the pre-production and it was a dream come true for me to have full orchestral arrangements on my songs. I was able to describe what I wanted and also hummed a lot of the parts that I wanted to hear. Minna then took those directions and ran with it, arranging full parts for violin and cello. Hearing actual melodies that I hummed come to life with an orchestra was really exciting. This was a big high for me because it opened up a whole new world of inspiration, which led to me using live string players in the studio for my next album Rooted Clarity, and the whole direction of that album, which is actually now part of my signature recorded sound. I really found a big part of myself as an artist and producer during that whole process. As far as lows, there have been plenty of them, but I don’t look at them as lows now because the biggest lesson I’ve learned in life is every time a low happens, it opens up the opportunity for a high. So in hindsight, we look back at those lows and say, “Thank God that happened, otherwise I would have never done XYZ.” But of course during the low you say, “Why is this happening?!” I think it’s all a test of faith. But one of those moments for me was when I was planning to work with a producer on a project a few years ago. We had done all the pre-production and signed a contract and everything. I think it was about a week or two before we were scheduled to go into the studio for our first session, he emailed me to say that he could no longer do the project because another project came up that paid more money so he took that job instead. (I know, what a standup guy, right?) At the time I was devastated because I had already made all my plans for the record and was really excited about it. So in the moment it was definitely a low point. But I don’t even think of it anymore because if that hadn’t fallen through, I would have never found another studio and team, which happened to be one of the best experiences of my life. So, dear person who has horrible character and rudely abandoned me, I sincerely thank you so much!

HVUM: As a successful female artist, do you have some words of wisdom about building a career in music? Can you suggest a definite “must do” and a definite “do not do”?

KG: The best advice I can give from my experience is be your true self and always follow your heart. This can be really scary sometimes and it takes a heck of a lot of courage, but the world needs brave people who dare to do what lights them up, whether that’s music or something else. Fear is a given because that’s just life, but don’t let it control you. It’s better to risk than to regret. I used to get really stressed out when people in the music industry would say, “Find out who you are and what makes you unique and market that,” that sort of thing. I’m like, ‘Oh my God, who am I?! What’s my thing?’ But you don’t have to have everything figured out at once, simply just be. Don’t worry about what other people are doing, just be naturally you and do your best. That’s what’s authentic. Don’t overthink it. The other thing I would say is don’t be hesitant to invest in yourself and your business. I think some people get stuck because they don’t take financial risks, but if those risks are smart then they’ll most likely pay off. And if they don’t, you just try something else. But you have to bet on yourself to get anywhere. I’m always conscious of how certain areas of my business are feeling. If I’m feeling stuck somewhere and not moving forward, it’s time to move on to another avenue—try different things. See what works and what might take you to new opportunities. Don’t settle and hold yourself back. Always be willing to try something new once because you will learn from it and grow either way.

HVUM: One of our favorite songs and videos regularly posted on our social media is “Delightful” directed by Anna Haas. It’s always interesting to know not only about the song, but the making of the video and the storyline. Tell us about “Delightful”.

KG: When I wrote “Delightful,” I sat down with a darker state of mind because at the time I was affected by a lot of negativity. I let what someone else said get under my skin, and it bothered me that I was allowing an outside circumstance take my happiness. During the songwriting process, the song ended up transforming my darkness around to see the light. I realized no one could actually take my happiness unless I gave it. I believe we’re all born with a light inside us and no one can take that away, no matter how hard they try. Our job is simply to remember that light, let it shine, and also to not shade our eyes from seeing the light in others. We were born to be delightful. The chorus is: “Take these shades off of my eyes and shine all of the light inside. We could be delightful. I can’t believe the world is all scary. What if we were delightful?” The songwriting process for this song was immensely healing for me and I knew this message was particularly important to share with others. This was my mission! I met Anna in Nashville, who did the photos and album design for Rooted Clarity. We had talked about doing a music video because she also directs and when the time came, I sent her “Delightful” to see what concept she would come up with. The story that she created for the video is one where I’m brokenhearted but through the process of taking myself out on a “me” day, treating myself to things that normally couples would do together on a date, I discover I don’t need someone else to make me happy because happiness was mine inside me all along. The relationship spin on the video is different from the song’s inspiration, but it creates a great storyline that a lot of people can relate to and in the end, the message is clear: happiness is a choice and we have the power to own it. I love that the video also celebrates independence and female empowerment. It was a blast to make and I’m so happy to see the positive response that “Delightful” has been getting.

HVUM: You have a Christmas album coming out in the very near future. Tell us about the new recording. Maybe you’ll give us a “sneak” preview of what we can expect.

KG: I’m so excited about this album, it’s ridiculous! The album is called Home Sweet Christmas, and the release date is December 1st, which you can preorder now on my website. I wrote and released a Christmas song called “Tomorrow is Christmas Morning” last holiday as a single. Since then, I was inspired to write more Christmas songs and thought it would be fun to do a full album, maybe half originals and half classics. But I just kept writing, all the way up until the pre-production stage before going into the studio, and so it became an album of all original songs. I included one classic as sort of a bonus track to the album. The songs range from the folky Americana vibe to very traditional classic country to a more pop influenced style, and to even funk and gospel sounds. I recorded the album at a local studio in the San Francisco Bay Area with engineer Justin Weis and I worked with some of my favorite musicians. We created some new sounds on here that I’ve never done before—lots of cool textures and arrangements. I also worked with backup singers for the first time, who I call my “Christmas Choir” and who did a fantastic job. It was a lot of fun for me to sit down and create the choir parts, which was a new thing for me as well. I grew up singing Christmas music and I love listening to it all year round. It’s a dream for me to finally make my own Christmas album and I can’t wait for people to hear it. Expect the unexpected, and plenty of jingle bells!

HVUM: In addition to the new album, what’s on Katie’s horizon?

KG: I just got back from Nashville where I filmed my new music video, which I reunited with director Anna Haas and her team on. The video is for a song off my Christmas album called “Unhappy Holiday.” I was able to see some of the footage and it looks incredible! There’s both beauty and humor in it. It was so much fun to make! The video will be out soon so stay tuned for that. While in Nashville, I also filmed an acoustic performance of a new song that I’m planning to record on my next album, which I’ll be sharing soon. I’ll be playing some Christmas shows at the end of the year as well. Otherwise, I’m writing away and will most likely start recording again next year as my next album is taking shape.

HVUM: Katie, thanks so much for taking time for the HorizonVU Music team and our network of friends. We have no doubt that you’ll enjoy continued success, but we do wish you the very best for all the new ventures that life has in store for you!

Shout Out Louds
Ease My Mind
Merge

Visit Shout Out Louds at Facebook and iTunes

The Swedish band, Shout Out Louds, is back! Adam Olenius, Bebban Stenborg, Ted Malmros, Carl von Arbin, and Eric Edman have released “Ease My Mind”, a stellar contribution of dream pop. The opening track, “Jumbo Jet” makes puchasing the album worth your while. The song was motivated by Olenius’ fear of flying gives some special understanding of the composition and lyrics. If you’re in the market for some nostalgic, shoegaze, indie pop, ” “Ease My Mind” is for you.


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!


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.


The Lovely Bad Things
Teenage Grown Ups
Burger Records

Visit The Lovely Bad Things at Facebook and iTunes

The Lovely Bad Things have released their second album, “Teenage Grownups”, so brace yourself for exceptionally energetic rock-punk-garage. The Lovely Bad Things is brothers Camron (guitar, vocals) and Brayden Ward (drums, vocals), Lauren Curtius (guitar, vocals), Tim Hatch (guitar) and Wesley Baxter (bass). The album opens with a frantic “I’ll Listen” that’s sure to wake you up and keep you listening. The album’s title track “Teenage Grown Ups” is next up and if you’re young and anxious for the future or if you’ve already joined the masses of disillusioned adult office workers, this song has to resonate. But either way join the band in keeping your sense of humour (check out the video). You can slow down a bit with “Cartoon Food”. You gotta love the “woo-woos”! “I Just Want You To Go Away” shows that while the songs are often quite amusing and melodious, the band can also slap you…

“I’m not gonna hide
But honey, you better
Get on a bus go downtown
Get a life

And the boys that hear you sobbing– don’t give a shit
I don’t know what I’m searching for– but I know that you’re not it
Where have you been all my life?– so I know where you can stay
I don’t know what I want anymore– I just want you to go away”

Go ahead and download “Teenage Grown Ups” and enjoy. If it doesn’t make your day better, well sorry, “Get a life”!


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