Walls – Interview

Walls - Coracle

Walls – Coracle

Despite having already tucked away that all important debut album, and conquered their way through an equally as impressive follow up, WALLS, made up of Alessio Natalizia and Sam Willis, have been keeping themselves a very, very busy duo indeed.
After throwing themselves head-on into yet another project, the music world seemed to cock a suspicious eyebrow in response. Starting their very own label, Ecstatic, in around March of 2013, their joint efforts as WALLS looked to be on the back-burner for some scheduled time to come – and for those with a similar, self-admittedly selfish frame of mind, that settled as a truly horrific concept to come to terms with.
But nevertheless, be it with ECSTATIC, or new music under WALLS, or even the various side projects the pair have been involved in – we wanted to get to know a little more about them as artists.

Does the praise and acclaim from the surrounding musical world, as it watches on for Walls’ next move, ever amount to pressure on your shoulders? Does it ever affect the way in which you carry yourselves as a duo – the actions you take?

Not really – the pressure that we always put on ourselves is much more than we could feel from the outside world.

Whilst the recent arise of your new label, Ecstatic, and of course both of your solo projects, suggest a possible slowing on Walls as a duo – you have just silenced those whispers in spreading the news of a 12” release on Ecstatic this month – Could you tell us a little bit about that release and how it came to be?

The new 12″ evolved through our live show.. A large portion of our performance is given over to jamming and experimentation – these two tracks came about through that – hence their being longer and wilder than some of our previous recordings. Also, this is the first true 12″ we’ve ever done as Walls – the previous ones were all taken from our albums, so we wanted to do something more dance floor based that befitted a 12″ single in its own right.

In a recent interview, you (Alessio) spoke of the new track Urals, and how the musical style of Walls has shifted recently – in length and in melody – does this suggest that if a new album were to emerge, we as fans would be right to expect a taste of something with a different edge on it than your last two – particularly Coracle?

Yes, that’s true – we’re working on new material all the time, and as such, our processes always evolve and change – a big part of which is us not wanting to repeat what we’ve done before. As a result, we can pretty much guarantee that our future releases will continue to differ from the past.

Following that, whilst your self-titled debut and second Coracle had huge success, Is it not fear of success, but perhaps a desire to keep things fresh and exciting that drives you onwards down your current route?

Definitely – both the first and second albums were the result of us being excited about the sounds that we were both creating at the time – it’s natural to want to evolve, even if we have the awareness that the more music that we create, the more of a legacy we build for each successive piece to be held up against, and as such that listeners might have expectations of what Walls music should sound like.

You’ve been known to keep the pressings and production levels of your work on a limited scale – especially with Ecstatic’s first official release Not Waving’s Umwelt – could you tell us a few of the reasons behind this?

We have humble expectations for our label, and would much rather keep it small and personal than try to chase success and press way too many copies that sit around gathering dust. Ultimately the digital will be available (for almost all of our releases) for those who to hear the music, it just might mean that the physical will be a bit harder to track down, that’s all. One things for sure though, we’re not directly profitting from inflated profits on discogs – we’ll be happy to be breaking even soon on the first releases!
Also, as artists, the possibilities afforded by more limited releases means that we can work harder on creating better packaging / bonus materials etc. which would be unrealistic on a release that had larger pressings.

If a new album is to eventually arise from the current new release, will there be any plans to tour the UK with it?

yes definitely!

How do you feel about the current turnover of new and independent artists the Internet is catering for? Is having such a wide and open platform a good thing for music as an art form do you think?

Definitely, it’s great that more people can get their music out there.. the one thing is that there’s so much stuff that people tend to gravitate towards.

We here at The Two Way Radio would like to thank Walls for taking the time out of their hectic schedule to talk with us, and we look forward to hearing more music very soon. 

– Luke Bartlett

Advertisements

Spotlight – Echo Hill

3138_08212013154850_350

Echo Hill

Long Island plays host to a number of artists, big and small, and the influence of this rich music scene is shown in Echo Hill’s songs. Energetic, tight and catchy are words that come to mind here. Echo Hill’s EP ‘Namaste’ demonstrates these qualities throughout its four tracks, with each song possessing a unique sound whilst maintaining consistency.

Comprising of four members; vocalist Monique Teichert, drummer Keith Miller, guitarist Alex Laudani and basssist Dylan Coates, each member show an understanding of what they have to do in order to craft a song. Eclectic and swinging guitar riffs paint most of the songs on ‘Namaste’, ranging from dark to pop-driven sounds that separate each song from another.

Teichert’s voice displays a maturity and confidence that will probably catch the listeners attention, too often are there female fronted bands whose vocalist is bubbling with hyperactivity and swooning and crooning with each word. Teichert doesn’t push herself too far, and as a result, strengthens the rock roots that the band possess.

Title track ‘Namaste’ is a prime example of the brand of rock music that Echo Hill play. A gritty guitar transitions into a chorus that contains elements of grunge, with a whole lot of attitude evident in Teichert’s words. Throughout the track, rolling drums are littered between the distorted guitar and humming bass-line.
If you like what you hear in this song, I expect Echo Hill will be right down your alley. You can visit their website here to find more information on the band and their music.

– Robbie Jadowski

Feature: Ego Honey – Summer

Ego Honey

Ego Honey

Having already made some noise in and around the Birmingham area, with gigs in the likes of the Sunflower Lounge, and more importantly, Pretty Green – Five man Ego Honey are onto kicking up another bit of fuss with latest hit Summer.

The track opens with a naughty little guitar riff, one you wouldn’t think of as misplaced if it landed itself on the upcoming Monkeys bit– but never mind that lot, these lads have it made if similar material is to follow; and hands up, I am a believer in the Honey.

Upon catching them for their gig at one of the two Birmingham Pretty Green stores, I have to admit I was a tad skeptical – I mean, just how many bands do you hear of starting up? It’s hard to take everybody who ever tells you their starting something as serious, because lets face it there’s so many flops in and around the creative industry, that someone making it doesn’t really occur to you as a believable scenario these days.

Although I was proved wrong in rather cool fashion. Lead Vocalist Matt Clark opened up with his surprisingly soft vocal style – it’s a persuading kind of voice, one that always dances with the idea of pushing things further, but never quite leads you there. Raspy in places, but rightly so – you want to listen to what he has to say rather than concentrate on the instrumentals as if they were two entirely separate entities.

No, Five man Ego Honey work as a whole, and it shows. Summer has this flamboyancy about it, and as the title would suggest, pumps that much needed bit of light into your day – whether this be your first, second, third, or hundredth listen; doesn’t get old, probably wont.

Kick back and embrace the good vibes. And whilst your at it, give the chaps’ Facebook page a gander here.

Article: Luke Bartlett

Feature: The O’Pears

 

The O'Pears - Our Own

The O’Pears – Our Own

 

 

The album art drew me to this group. Now this is awfully shallow of me and an injunction of the whole ‘judging a book by its cover’ thing; which is why I’m confused that it paid off so handsomely. The O’Pears are the reason I like to sit at my computer at the dead hours of the morning and trawl through Bandcamp because sometimes, more often than not, you find a diamond.

The female three piece from Toronto, Canada released their debut EP, ‘Our Own’ in July of this year and is well worth the five dollar price tag. The highly eclectic EP is held together by the common thread that the voices of Meg Contini, Lydia Persaud and Jill Harris, though individually strong, harmonise beautifully throughout. Each track in the EP covers different genres of folk and jazz resulting a small body of songs that offer a lot of diversity.

The first (and my favourite) song ‘Golden boy’ is the rawest track on the EP simply consisting of deep, pulsing baseline that compliments the trio’s voices; the perfect chill out song with just enough rise and fall in the melody to stop the sound becoming stale. The next song ‘Have a heart’ is the one most reminiscent of Irish folk and the vocal control here reaches new highs with the chilling opening line, ‘As far as the eye can see, nothing more no less, I’m blind to all above below, to east or west.’ For the last song on the EP entitled ‘Dinah’ the tempo switches completely to an opening instrumental that screams bluegrass music and snaps you out of the atmospheric melancholy of the previous tracks. Fans of Big Star’s classic folk song ‘Thirteen’ will be happy to know that the cover on this EP is brilliant and if you’ve never heard it before this is a good place to start.

For a small price this EP offers a lot, diverse songs, shockingly good vocals and a welcome addition to an unfortunately small folder of folk artists in (at least my) music library. The largest problem I found was that any attempt to sing along with the vocals in this EP generally ends in complete failure and the uproar of neighbourhood cats… though that’s probably just me. Take a look at the O’Pears perform ‘Golden Boy’ complete with complimentary arm swaying and mood setting candles.

http://www.youtube.com/watch?v=yGizOxOrf9o

And check them out here at:

http://theopears.blogspot.co.uk/

http://theopears.bandcamp.com/album/our-own

 

Article: Ross Foster 

Wesley MacNeil – Honestly…

Wesley MacNeil

Wesley MacNeil – Honestly…

Vocally, I’ve always vouched for MacNeil. He has this crooked, wistful voice – off in just about all the right places at the right times.

I was first introduced to Wesley’s music via Bandcamp. His former band and project, Basement Tapes, had to my knowledge only ever released one thing – A six-track EP entitled Demo (released for free!).

Minute as it may have been, I connected with Demo, and to this day can still feel every single strum of the guitars, and appreciate just about every single lyric those three guys put together.

Whilst not being entirely appropriately titled, I found Demo to be something I’d been missing for a long, long time. It leaked lengths of passion similar to the likes of LA DISPUTE’s Wildlife and provoked me into a semi-self destructive, yet deeply reflective state – one I’d known had always existed but never dared to explore prior.

Although, whilst finding some difficulties with continuing the Basement Tapes project, MacNeil took his vocal obscurities elsewhere, leading his new band TEACHER – a heavier, much more flamboyant outfit – and pursuing a solo creative venture, having now recorded and released this four track EP ‘Honestly...’

It’s shuffled under ‘Folk’ – but I wouldn’t be so quick to pin this one down. Soft spoken, soft sounding, and a terrifically heartfelt end product. It’s clear from first track to last, MacNeil has ached over his craft for some time, but it is also solid proof that talent will shine through if the effort matches it.

I could quite easily reel off ten to twenty singer-songwriters who have dabbled in a similar style to MacNeil, but in my honest opinion that would be slack, and plain lazy journalism. My advice would be to go into this one blank minded, perhaps even open armed, because what you’ll come to find and possibly adore, is that this whole EP feels an important one. Great lengths of time and effort have gone into the initial writing of this material, and it evidently means a great deal to the artist – unfortunately that has become something of a rarity these days, so lap it up guys!

Edgy in places, and most certainly eloquent throughout; MacNeil drenches us in angst, but it’s more appropriate than you’d first come to imagine. A truly soulful record, and one hell of a debut solo. Check it OUT, and definitely keep peeled for what he and the other cool cats at TEACHER are gonna’ do next!

Feature: Little Green Cars

Little Green Cars - John Wayne

Little Green Cars – John Wayne

‘When I asked you your name

you said John Wayne and I guess it’s true

Cus then you shot me down’

Taken from the appropriately titled single John Wayne, here Little Green Cars show what they do best which is create a story that you can lose yourself in. When you combine this with the pitchy, haunting voice of front man Stevie Appleby and contrastingly upbeat rhythms the band produce, it makes Little Green Cars a welcome addition to any playlist.

The five-piece from Dublin charmed American audiences throughout 2012 with their unique mix of cappella-like stylings and high tempo lead guitar. In all honesty it’s hard to describe this band by picking up on their sound because so far their songs have been so unique. The release of John Wayne back in September last year was their debut track and features a progressive drum beat with piercing vocals. By comparison the EP Harper Le’ which was released earlier this year features the song Red, which is just the raw sound of the bands five voices harmonising and lacks an instrumental entirely. This creates an eerie and beautiful resemblance to Irish folk songs or hymns.

The unique thing about Little Green Cars is that, vocally, the entire band contributes. The group have strong leads in Stevie Appleby and Faye O’Rourke which is demonstrated on the B-side track of their debut single entitled the witching hour. The chorus: ‘And I thought I was getting old, so I dug me a hole and built a cross.’ Shows just how well their voices complement each other.

Having recently discovered this band I can honestly say that the late august release of their debut album Absolute zero is something that I’ve marked on my calendar; the purchasing of which I have filed under ‘guilt free spending.’

Check out their haunting track Red here to see what I’m talking about: 

You can also check them out here:

www.littlegreencars.co.uk

https://www.facebook.com/littlegreencars

 Article – Ross Foster   

Interview: Swim Ignorant Fire

Swim Ignorant Fire

Stephen Holliger, otherwise known as Swim Ignorant Fire, raised from Danvers, Illinois, yet residing in Chicago, has already put out a string of releases via his Bandcamp page, but has also racked up quite the discography prior to his now strong internet presence.

The majority of his early 2000 releases were DIY cd-r’s, with only a few actually being physically available. Although, showing clear passion for the projects, he returned to everything he had ever released from 2004 onwards, to remaster and place on Bandcamp for free.

Already respectively finding himself under four labels – LA based Lazy Roar Records, Pilgrim Talk Records, Rok Lok Records, and Canadian label Scotch Tape – I was interested to find out a little bit more about the how’s and why’s of this lone man’s musical endeavors, and the exact reasons for his clear and obviously driven work ethic.

I first came across his music online somehow accidentally; the search bar misleading me into one of the best new found discoveries I was to make of 2013. Soon after rushing myself through his entire available catalogue of music, I took some steps back, and re-listened, and heard them all once more in a very strange, very different light.

Have you ever heard a sound so familiar that it stops you in your tracks? I have. June 2012, Swim Ignorant Fire releases Weddings and Funerals, put out on Cassette and available via his Bandcamp page. I hear it early 2013 for the first time and allow myself to digest it over a period of two weeks. It dissolves the moving world around me, but reinstates a nostalgic warmth I had almost forgotten existed.

The opening track ‘In the interval between grasp and reach’ – allows its listening audience to fall melodically deeper and deeper into a chasm of thought, and eventually land themselves upon the strong, yet fathomable conclusion that reminiscing isn’t all that bad for the soul, and that they should visit this place more often.

You see, personally, that’s what this 6-track is for me – a gateway. As though Holliger has gifted me with the key to unlock the door on my own buried past, and how I feel ashamed when I see it all, sitting there neatly tucked away in a small box hiding beneath the cool shadows of it’s apparent deathbed.

But that’s not to say this EP is in anyway desolate, nor does it radiate any unnecessary dark vibes, only dance with them when safe to do so.

Although, what this EP does do is drive us to the point of questioning our existence in the now – why do we seek what we cannot obtain? Why is it that when yesterday becomes one hundred yesterdays ago, we crave it, desire it, hurt for it that much more? It’s a reminder that we long for the obsolete, and that we, for that lone reason, are unmistakably and eternally human.

Yet on the surface ripples a miraculously smooth sea of harmonic synth stretches and warm vocal workings. It is truly hard to tell whether we are too look no further than what the plain eye can see, or take the ghastly plunge into the deeper, darker elements of Weddings and Funerals – although however you choose to listen, just know one thing – you will not be the same person at the tail end of this musical journey; Holliger is a man who knows his craft and has mastered it, and how that shines through on this seemingly very personal, very intimate collection of sounds.

However, his vast and arrayed available selection of music leaves the understandable yet mutely bitter question hanging above ones own head – has the journey of Swim Ignorant Fire been a successfully planned out one? Or has the pleasing consistency in both sound and length been something of an accident – as if Holliger has somehow tripped and fell, making all sorts of wondrous noises on his way down?

You see, the partnerships and collaborations suggest that Holliger is a man swept up in the romance of experimentation, always seeking out something singularly special – and whilst noting his split 7” with GK and Free Download split with Count Brent on Lazy Roar Records, and also his joint effort with BOAR which has been self-described as ‘Extremely Noisy’ – it is still laid out for anyone to see noticeably; Swim Ignorant Fire is an artist, and a devoted one at that, who is prepared to go that extra mile and share his gift with others for the sake of the craft.

That is why we here at The Two Way Radio feel absolutely honored to get the chance to talk to Holliger – about his life, his music, and the future of his creative pursuits.

TTWR – Firstly, can you explain your decision to pursue such a creative pathway?

Stephen Holliger – I don’t think I’ve made a decision to pursue a creative pathway. Music is just something I’ve always done since I was drumming in 4th grade, its always just been an escape and release.

The path for SIF – has always been unknown but fearless all in the same … The music and the band name has been centered around human struggle and the beauty of hope. I’ve always been interested in combining melodicism over noisy textures and fueling both worlds but somehow combining them.

The first couple of releases I was really into anti-genre, I didn’t want to do just one thing, I feel like the last two albums I’ve finally found something that has stuck for me. I feel like the music has really matured and is more focused on a specific feeling or atmosphere and allowing that space to take over than being so schizophrenic in changing scenes 2 to 3 times in a song.

In the beginning it was only a recording project and I think that shapes a lot of how my songs are formed, I’m throwing things up in the air and waiting for an idea to hit me right in the eye and I’ll build on that.

I don’t really think I’m pursuing anything, I’m just playing music – just like anybody else who also has a need to just create. This music is still a release and I aim to move people and myself at the same time with it, so I guess I aim to keep things cinematic and progressive but in a bill viola half speed.

Swim Ignorant Fire is focused on the beauty of perseverance and the relationship of gaining and losing hope for oneself or humanity.

TTWR – What were the ideas behind the project when you first begun? 

Stephen Holliger – My ideas behind the project have been mostly driven by what I’ve seen growing up in the bible belt of central Illinois. A lot of the ideas are driven by the fallacy of man and his pursuit of religion and the hope for something better. There’s just something beautiful to me about anyone who pursues something convicting amidst a world that is against them even if it’s after man’s own ignorance or faith.

TTWR – You have clearly dabbled and mastered in the creation of Drone and Experimental music, were these genres that held you as a fan before an artist?

Stephen Holliger – I have always appreciated experimental music but have only really embraced this new direction of progressive drone music over the last 5 years or so. I was not necessarily into drone music 10 years ago but still into Zorn, Mr. Bungle, and free jazz-y stuff and experimental electronica like Oval, Matmos, and Four Tet.

TTWR – If so, can you name any particularly big influences involved in the Drone/Experimental music scene– any artists, albums or tracks that have had impact on the way in which you as an artist operate? 

Stephen Holliger – Ben Frost’s has two tracks that impact me almost every listen -1st Theory of Machines (off theory of machines) 2. You, Me and the end of Everything (off steel wound)

Colin Stetsons last song on New History Warfare II “in love and in justice” is something very influential to me. or that whole album rather. I just love knowing these sounds are coming from one man in one take.

Tim Hecker is and always will be a huge influence on me – his whole discography is gold.

Locally – bands like

Gilder and Cleared have been putting out some great releases lately.

TTWR – Particularly on your album Weddings and Funerals, there seems to be a vicious, yet strangely comforting reoccurring theme of exploring dangerous, darker territory – An example being track ‘Devil in Her Eyes & God in His Heart’ – instrumentally it seems to take itself a little more seriously than the previous tracks. Were there always plans to have some harsher sounds on that EP or did they just evolve as the project went on?

Stephen Holliger – Yes, I typically aim to add harsher sounds either subtle or deliberate –  but they typically evolve as the project or tracks move forward and it also depends on what I decide to use or process when the time comes get textural.

The two acoustic songs were written for a completely different project and just kind of grew into themselves with the textures in the end. In the beginning they were just acoustic guitar ideas that were up in the air.

TTWR – If so, what attracted you to the darker sounds of this project? Perhaps a particular occurrence or incident at the time of creation that may have impacted the overall end product?

Stephen Holliger – These darker sounds or directions were me exploring folk’y songwriting territory – They are the two songs that really break up the album and it was new territory for me as a producer and songwriter. During the time these two acoustic songs were written with my ex and W&F was written entirely over the course of the break up-  so that incident had a lot to do with why these two acoustic songs are wired in the album because it incidentally made sense for its time of creation. This incident also developed the whole idea for W&F. I feel my new album Belly of the Whale is a lot more darker than I had expected it to be, but once again at the time of its creation – it fit….

What’s NOT attractive about the dark side?

TTWR – What is it that gets the creative energy in you flowing? Do you have any albums you return to, or books you read?

 Stephen Holliger – Bill Violas video work has a huge impact on me – circa 2008 installations – Acceptance, five angels for the millennium, and ocean without a shore.

Honestly, Fall and Winter get my creative energy flowing…… along with Season Depression! haha

Being from Illinois I’ve always looked forward to the cold winters. I love cold weather. Its a very nostalgic time for me. Everything around you starts to die and allows something else to grow. That is what Weddings & Funerals is about. I was reading Plato’s Symposium during this album, and I got really into the philosophy of Socrates for a hot minute during that winter…. those ideas really influenced the title for Weddings & Funerals – its a central idea around love and how one could perceive falling in love as a personal death to its owner – but this also begins the birth for that relationship.

In love is Death and in Death is Birth (basically).

 TTWR –Your newest pursuit HUGHES features a lot of heavy, lo-fi noises – at times sounding similar to the more recent works of Amon Tobin – notably ISAM. It’s glitchy, and barbaric. When speaking of the project, you speak of having no preparation and being deliberately sloppy with the recordings – Could you talk us through those decisions a little more in depth?

Stephen Holliger – HUGHES is a completely different project aside from Swim Ignorant Fire.

HUGHES was something I started with a friend over winter of 2012. He is an MC from DC and really developed a musical understanding relationship once I gave him a copy of the W&F tape. From there, he started to show me some of his new beats using found pieces in his room (a dijjaridoo? and basketball). I’ve been trying to produce a harsh instrumental release with a focus on all organic sounds and especially with my work in sound design and foley it made sense for us to come together. It was almost magical, we never really discussed what we were going to do or represent in our music, we just started tracking and stacking sounds on each for the next month or two and out of 7-8 ideas – we started to narrow it down as a 4 song EP. “The Crown” which is the first track on the new EP was our first song we wrote together, that was probably tracked in a night fueled with Kentucky Velvet Whiskey and the harsh winter of Chicago outside. Since we had no discussion about the project, I would only bring 1-3 items with me each night for a tracking session – but besides that – We really enjoyed the pursuit of sounds in a unprepared setting – it kept it exciting and really forced us to think outside the box with what we needed to use in order to find or use the sounds we were looking for. Most of the time when we tracked, we would have the monitors played in the background – and later we began to use those bleeds to our advantage in say – prefacing a synth part with its bleed over a track where we are slapping a basketball. We would introduce that synth part through its bleed on another track before the actual synth part comes in. Overall HUGHES has been very intuitive and natural in its own process without a single discussion. We are currently tracking a summer EP, our first track has been sourced by a game of Croquet and crushing beer cans so far.

Andrew P is the other side of HUGHES; he goes by the name Lou Tully – his new mixtape is coming out in a couple weeks.

You can find out more here:

http://loutully.bandcamp.com/

TTWR –Do you think the desire to experiment and explore is something that will never leave you as an artist?

Stephen Holliger – Yes, Exploration is everything and experimenting is the only way to find new grounds in sound and structure.

TTWR – What does the future hold for SWIM IGNORANT FIRE?

Stephen Holliger – Swim Ignorant Fire may be on its way to being a recording project, a lot of my gear has been dying away (like my laptop last year) and I’m itching to play in a band again. I’m playing bass again with a lot of my friends from back home who all live in Chicago. We are attempting a fast-paced post punk shoegaze sound. We have 5 songs written and will be writing, recording, rehearsing all of this year – we’re called HAREBRAIN. Along with post production I’ve been asked to compose for a few short films this year, and ideally it seems like that is where this music taking me. So I plan on releasing my original songs to these upcoming films as soundtracks and continue writing music that way. I have been doing a black metal / ambient online collaboration with a longtime musician friend from back home as well. We plan on releasing 20 minute or so EP of combining 8 string Djent with black ambient drones. Besides, that I’m focusing more on sound design and custom sounds for films in my freelance career as a sound designer for film.

We here at The Two Way Radio would like to thank Stephen for his time! You can check out his latest work HERE! and HERE!

swimignorantfire.bandcamp.com

swimignorantfire.blogspot.co.uk

Interview: Felly

 

Christian Felner - a.k.a Felly

Christian Felner – a.k.a Felly

Christian Felner, Rob Fel, or just plain old Felly – however you’ve heard of this cool cat, it’s impossible to overlook his obvious flare and flamboyancy when it comes to producing beats and rhyming.

Already boasting a hefty 15 Bandcamp releases, racking up over 3 million channel views and 18,000 subscribers on Youtube, it’s more than fair to say Felner has a little something special going on – something that keeps the views rising, the tracks bumping and the fan base expanding.

We here at The Two Way Radio we’re lucky enough to get the chance to speak with Felner, who had some interesting things to say about his latest release Restless, and the future of his musical career…

Has getting picked up a label ever been something that’s crossed your mind? Or something that’s ever influenced the way you work?

I’ve thought about it like all musicians really but I’ve never really like, drooled about it or anything.  Labels are cool because of the resources they provide but regardless of a label I’ll undoubtedly still be recording and putting out videos on my own.  The help would be nice no doubt but I’m not gonna sit here for the next couple years like “damn man, I really need a label for all this”.  You know?

 In the long-term, where is it you want or see your music taking you?

Well first I really hope I can just make music my life and become financially independent with it.  I don’t want a job at all.  That’s on some naive shit but honestly one of my goals in life is to never have a real job.  So I’m hoping through some hard work I don’t have to fall into many of the mundane jobs of society and can be recording, performing, producing, etc. on a daily basis.  Touring is another thing.  I really just want to be in front of large crowds and get people movin.

You mentioned in a recent interview about wanting to go on tour with another artist– Do you have any particular artist you would you like to be picked up by?

No one in particular I don’t think.  I’ve been trying to see if I can fly out to Chicago and do some shows with the Palmer Squares but nothing is concrete right now.  Other than that I’ve been working on getting into other venues like Toads Place and Webster Hall but it’s not all that easy – even though I know I have a bigger following than many of the performers there.  They don’t really trust self managed 17 year olds and whatnot.  Pretty lame.  But if I could be doing shows with one dude right now it’d probably be Logic.  To be honest I could name maybe one logic song and don’t really listen to him at all, but I’ve seen him perform and could really see myself on the same stage.  I don’t know why but I feel like we have similar energy.

You’ve already joined in collaboration with a string of talented artists – is this something you can see yourself continuing to do more often?

Yes definitely.  Part of me hates collabs because they can get really painful and not come out how you want them to (quite often because the artists on the track aren’t in the same room together), but when it’s a collab with people I really fuck with I can get really into them.  For example I’ve collabed with CJ Trillo (Sucka Free CJ) and have some shit with the Palmer Squares ahead and everything’s been going dope with those.  CJ is actually on one of my favorite tracks I’ve ever put out, Plus Signs.  I wanna continue to collab but with more diversity.  Like some female singers on my hooks would be ideal.  I’ve definitely been trying to work more with some girls for that.

How important would you say sites such as Bandcamp are, with all the tools they provide, for independent artists?

Oh crucial.  Bandcamp is the greatest.  I’m starting to like Soundcloud more but still think it’s kind of beat how they make you pay them so people can download your music.  But back to Bandcamp, that site kills it.  I love the layout and how easy everything is and how easy it makes buying music.  Definitely gotta show love to Bandcamp for funding a lot of the shit I do.

In terms of support, have you always had the backing of those around you – namely your family, friends and peers?

Oh definitely.  My family is into my shit a creepy amount.  I don’t even really like it to be honest haha.  Like I love that they’re supportive and everything but I can’t really go to family functions the same anymore.  It’s all about music now and grandmas telling me like “We watched alllllll your videos yesterday they’re great!”.  That’s really cool but there’s a lot of shit I want to keep separate from family.  I still want to be innocent in Grandma’s eyes and know that, regardless of if she understands what I’m actually saying in a rap or a video, the majority of what I put out isn’t all that innocent.  Still mad love to the family for the support but sometimes when I’m in the midst of writing some real real shit I think about parts of my family hearing it and it fucks up my focus.  It’s hard to explain.   My friends stay fuckin with me which is awesome.  They’re rocking their felly merch and freestyling with me and whatnot – telling people I’m not that cool when a stranger praises me or something (in a funny way not a dick way).  But yeah, these are the kids I’d like to come up with.

In terms of improvement, how much do you believe you have accomplished on your journey from Bridges to Restless?

I definitely got better as far as quality goes.  I improved a lot with mixing and mastering and overall recording.  The recordings on restless by far sound better in most instances.  I also think I improved with getting more personal with my words and creating better hooks.  Other than that I don’t really view Restless as a major work of mine.  It definitely shouldn’t be viewed as my debut album in my eyes.  It got some solid looks but I have bigger plans ahead trust that.

Can you talk us through your work schedule? – How is it you manage to hold down school, a social life, and still manage to regularly put out material?

Well school’s over now thank the heavens but before I graduated my day was like this.  Wake up, school til 230, gym til 4, homework and other random shit until like 6, then music and working on my artistry til sleep.  Nowadays in summer it’s more like wake up at 11, hope I’m not too lazy to go exercise and whatnot, then come back here and make music.  It gets hard in the summer to stay focused though cause my boys are always trying to go to the beach or on a boat or something real enjoyable.  So that’s what I’d say the hardest thing is right now, putting work before bumming out under the sun (Which is mad fun don’t get me wrong).

Why is it your latest release Restless got put out for free? Is this something you think an independent artist should do?

Yeah most definitely.  I don’t really need money at the moment.  My beats take care of that.  So with my rhymes I’m just trying to get as many people to hear them as possible and jump on board with my movement.  I also think like, you can get tremendous amounts of free music on the internet and the majority of upcoming artist put mass amounts of music out for free before they drop an album.  It wouldn’t really be cool at all if I charged like 6 bucks for people to hear Restless when they can get a download of other works like say, Acid Rap, for free.  I just don’t think I’m in a position to profit off my rhymes right now – I have to get more out there.

You just got accepted into USC School of Music – How much do you think this will affect the current rate at which you continue to make and put out music?

Not sure at all.  One of my biggest concerns at the moment actually.  I can either go out to LA, enroll and meet amazing people to work with and actually put out some awesome shit, or I can go and become every other college student studying a shitload and getting murked at night.  I really hope the first option comes true.  I don’t want school to bring me away from my dreams and if that does end up happening and I do become just your standard in debt college kid, I might have to make some changes.

Do you believe music is the art form that connects us as human beings the most?

Yes.  We listen to the African station of Pandora when we’re posted and I can get seriously into those.  People in like Germany and Netherlands bump my shit as well and they don’t know what I’m saying.  It’s all about feel.  Music speaks every language.

Finally, a great majority of your audience comment asking for tips and advice, whilst you cant get back to every single one of them, is there any general advice you could give aspiring musicians, especially young ones with similar busy lifestyles? 

You just gotta take your craft seriously and if the passion is really there everything will work out.  I don’t feel like I’ve mastered anything yet so I don’t know if I’m in a position to give some sick advice but just keep doing things you love and stay positive, things will work out.

We here at The Two Way Radio would like to thank Felly for his time.

You can check him out here:

http://www.RobFel.Bandcamp.com

http://www.Fellymusic.com

http://www.facebook.com/fellymusic

http://www.youtube.com/felnuts

http://www.twitter.com/fellythekid

http://www.soundcloud.com/robfel

But don’t forget to also check us out on Facebook and Twitter too!

http://www.Facebook.com/thetwowayradio

http://www.Twitter.com/thetwowayradio

Interview – Luke Bartlett

Photo – www.facebook.com/fellymusic

Review: The Rainbow Body – Return Unto Void

The Rainbow Body – Return Unto Void

 

Life as we know it is one big looping sphere – forever grinding round in it’s same predictable, lack-luster manor. We wake, we drink, we eat, we sleep – and so the pattern continues.
Matthew Kattman, who goes under moniker ‘The Rainbow Body’, portrays the undeniable relentlessness the system spews out for us in his EP ‘Return Unto Void’. The 8-track assembly consists of nebulous guitar loops, which engulf the listening audience in a world of shady scenarios and outer world experiences.

The first track off the EP is ‘Void 1’ – wavering guitar lines fill up the atmosphere, dancing around with an added sprinkled dust of regret and self-pity.
The 2 minute and 44 second noise experimentation speaks of an everlasting daytime nightmare, and parades for us all to witness, the incurious and misguided, lost and warped beings we have allowed ourselves to become. It is a display of hopelessness, defeat and conformism – the onward motion of the one-step forwards two steps backward theory.

On the other end of the spectrum lays last track ‘Void 8’. It triggers a sense of redemption and makes for a very fulfilling sound – one that radiates freeing vibes and allows the listener to succumb to the carefree ways of an untied prisoner. It is the sound of a second chance –and when all seems lost in the whirlwinds of time, this Void proves there is still a twinkling of undying hope bedded beneath a tiny rock somewhere, or floating along painlessly, riding the beams of the white-hot sun as they burst through minute cracks in the sinking, sleeping trees of the swamp.

‘Return Unto Void’ takes its listening audience on a budding quest. – Away from the conventionalities of our day-to-day lives, stripping us of our complacencies but more importantly making us aware of their very existence. It is everything we have ever needed to change, and Matthew Kattman manages to compile 8 voids in which this place we call home no longer begins to fit that description.

A truly invigorating collection of unforgettable experiences. Get the EP on Cassette Tape here…

 

Text&Photo – Luke Bartlett

Album Review: SPLASHH – Comfort

SPLASHH - Comfort

SPLASHH – Comfort

The very first thing I noticed about SPLASHH was their transporting sound. Outlandish guitars that floated alongside the indefinite vacant fizzle of lead singer Sasha Carlson’s voice. It was enough to have me dependent. Dependent on their noise, dependent on their groove, dependent on the fact i’d be able to get my hands on a physical copy of their music.

The four-piece impressively hail from all over the globe – two members from New Zealand, one from Australia and the other from sunny old Wolverhampton in the UK. They share similarities to the likes of Unknown Mortal Orchestra – who have picked up the band for a European tour these last couple of months. I managed to catch them In Birmingham’s Temple Rooms, which proved to be a very mind-changing, eye opening experience.

Comfort is SPLASHH’s debut album, and it has already landed them in the middle of a musical storm, sparking up interest from the likes of NME and the BBC.

Since they can be seen citing such bands as the Pixies and New Order as influential, the way in which they initially gripped me doesn’t strike me as something of a surprise. Track number 4 from the album – ‘Vacation’ – bubbles throughout, the starting bass line proving very similar to that of New Orders ‘Age of Consent’ from the championed Power, Corruption and Lies.

Then comes a side to SPLASHH that offers that much needed twist on things. Tracks ‘So Young’ and ‘Washed Up’ parade the bands darker, edgier, pop-punk side – the sharper end of the package.

The record as a whole has this acidic undercurrent, which provokes the listener into a heavily induced snug-like coma, allowing the space for sporadic thought, and the rare chime of fearless creativity to begin softly jingling beneath the surface of consciousness.

Heavy for when you need heavy, but beneath the fearsome fuzz and stabs of passion lies the discreet blanket of calm we as listeners so often crave. Comfort is so appropriately named its like walking into a store and actually sticking to your shopping list – no bullshit – its in, its out – its what it says on the label.

This nine track throws its audience into a barbed wire wrapped cloud, and leaves them to their own devices. At times loud, at times still, it’s the nearest to a hush-heavy combo you’re gonna get. Dig it, live it, breathe it, be ready. This album officially drops in UK stores September 2nd, and the US on June 4th.

Pre Order the album here for the UK

or here for the US.

Check SPLASHH out on their Facebook here also.

and ‘Like’ our Facebook page for more posts and updates here…

– Article&Photo – Luke