‘Home of the Mad and the Shameless’ is the eccentric, off the wall album that floods every ear with energy. The Blackpool four-piece, Black Eddy, will be dropping the album on the 25/06/22 and they have not held back. Simultaneously fun, energetic and emotionally poignant, Black Eddy have put their soul into the album. Their lead single, Repost, captures their grunge punk rock spirit. Repost opens with catchy guitar before all four members come together to unleash their satirical sound. The six track album demonstrates the best of Black Eddy.
The album captures both the honest emotions and the fearlessness to just have fun with music. Repost satirises internet culture with the recurrent line of ‘you have the right to be offended’ among other anti-status quo chants.
“With Repost we wanted to soundtrack the doom-scroll. It’s no secret that millions around the world struggle with internet and phone addiction (ourselves included). Like all the songs on the album, we wanted to tackle a real issue that we’re going through by making as much noise and having as much fun with it as we can!”
Countless bands have tackled themes of mental health and war yet it is refreshing to see Black Eddy examine our internet culture in such an unapologetic and energetic way. Their subversion of mental health tropes makes the album what it is and Black Eddy turn dark topics into songs you can both smile and mosh to. The songs are inspired by the bands’ real world struggles with schizophrenia, addiction and memory loss. Yet they turn these struggles and emotional vulnerability into cathartic hard rock.
Don’t just listen to Black Eddy through your speakers, though, their explosive live shows have made them a must see in the Blackpool scene. Black Eddy are building their empire through gigs and they can only grow. With the upcoming release of their new album, they undoubtedly will.
Following the release of the gorgeous ‘The North and the Sea’ LP, we had the pleasure of sitting down behind the man behind the moniker, Nicholas (AKA Wavewulf) to find out more…
Which song off your new album was the hardest to write?
Well, the hardest songs to write (or the ones that took the longest anyway) were probably “The Sea and the Glacier” and “The Power of Water”, probably because there is a lot going on in those songs rhythm wise and I took a while to get the drums/percussion, synths, vocals, etc. to work together well in those particular tracks. Also, “Scandinavian Nights” took a long time to get working well with all of the persuasive elements, guitars, vocals etc.
Which song are you most proud of and which one is your least favourite?
Honestly, that is a tough question… I think “Luft”, “The Power of Water”, “Serenade” and “The Sea and the Glacier” are some of my favourite tracks on the record. I just love the bassline and drums on Serenade, and I also love the lyrics Marta wrote for that track as well as her super vocals. In addition, I love the drums that Christopher John Donato did on “The Sea and the Glacier” as well as the lyrics Maxx and I wrote together (as well as Maxx’s wonderful vocals on that track). Least favourite… that’s a tough one… I love the song “Predator” but I think that it could have been better as I had originally intended to be with vocals (kind of hip-hop vocals) but the vocalist I had been working with on that track didn’t wish to keep working on it with me, so I just made it an instrumental track. I think it still turned out good though.
If you could collab with one artist, who would it be?
Man, there are so many great artists I respect and have been influenced by over the years… I suppose if I could go back in time (to before he passed) it would have to be David Bowie. He just had such a fascinating career as an artist with all of his phases and I love his music so much. Other than him, perhaps Brian Eno or Flood (James Ellis), I just love the work they have done with artists of all stripes. Also, Martin Gore or Dave Gahan or Alan Wilder from Depeche Mode would be brilliant to collaborate with as I’ve been a big Depeche Mode fan over the years. Or… another artist would be Robert Smith of The Cure, another one of my all-time favourites. As far as vocalists, perhaps Liz Fraser (of Cocteau Twins fame), I’ve always just loved her vocals and vocal harmonies so much! So many…
How easy does inspiration come to you?
Honestly, inspiration comes to me all the time, from all kinds of directions. I think the more difficult part is trying to take that inspiration and pull off what you have in mind musically with what inspires you so much.
What was the main inspiration behind the new album?
The record is a concept album based around a northern/Nordic/arctic/sea theme. The idea for the album really came about during my trip to Iceland this past year. When I was there, I thought a lot about the power of the sea, of water really, and the other geological forces that make such an exotic land as Iceland exist. Before my trip, I had been feeling a bit claustrophobic and disconnected from people. The trip gave me a feeling of freedom, freedom to move, freedom to see, freedom to connect. I think connection is a huge theme of the record.
The album is also really about freedom, and the interplay between feelings of oppression by circumstances and about how to break out of that oppression to gain freedom. The album is also about how we connect as people. I had been feeling pretty disconnected from others during the pandemic (I suppose this has been a feeling for a lot of us) and I wanted to write about how we connect with others and find connection with others. Songs like “Open the Gate”, “Luft”, “The Power of Water”, and “The Sea and the Glacier” illustrate this theme nicely I think. Also, “New Amsterdam” is really about the feeling of being without… being without a loved one (or loved ones) and how that can make life seem quite meaningless. “Understand Me”, besides being a leftist, anti-capitalism track, is also about how we have to break beyond the mundane “the automatic” to forge meaning. “Permafrost” is a track with not only an environmental, save the planet theme but also about our collective loneliness and the power of music in connecting people across places and cultures. “Through the Wires” is a song about what happens when we get our “wires crossed” communicating with others, and also about how that can even happen on a global level and cause misunderstanding between peoples, and governments, and can even cause violence (much as we are now seeing with the tragic invasion of Ukraine).
In addition, direction has always been important to me; maps, latitude, longitude, where one is in the world. I think “The North” is kind of a metaphor for truth and “The Sea” for freedom, which is where the name “The North and the Sea” came from.
Did you run into any difficulties when writing/recording the new tracks?
I think the biggest difficulty with making an album with so many collaborators all over the world is just the logistics of it. You know, it’s the complicated process of trying to get everyone’s ideas and all of the files to fit together well. As a producer, ones has to make everything sound good when everyone is experimenting, and all of the tracks people sent to me to work well together as coherent songs. It’s also a very fun and creative process working with so many different ideas, and with such wonderful talents as those I worked with on making The North and the Sea!
How do you think electronic music is viewed in 2022?
Well, I’m not sure how it is viewed by most but I would say for myself and my colleagues, we view electronic music as a highly expressive and emotional music. I think we also view electronic music as something really substantial and, I would say forward looking, or even futuristic. For instance, I don’t really like the kind of 1980s nostalgia that has become so common in a lot of electronic music in the last decade or so. I mean, I do love many things about the 1980s sound and aesthetic but I don’t like nostalgia for nostalgias sake and think that it is a bit overdone now or at least not very interesting.
There were certainly cool things about the 1980s and early 1990s and loads of great electronic and new wave/indie/alternative music but there were also a lot of terrible things; for instance, high unemployment, bigotry, the Cold War, Reaganomics, Thatcherism, and all of the bad politics of that time. I suppose I just prefer music that is current or especially avant-garde or, like I said, about the future or how to build a better future. And… I think there are loads of things going on in the world now (good, bad or indifferent) that deserve to be written about or expressed musically, and I think electronic music can be a great medium for this! I believe most of my musical friends and colleagues view things this way as well.
Who is your biggest inspiration / what made you start writing music?
Some of my biggest inspirations over the years have been Kraftwerk, Brian Eno, and also Jean-Michael Jarre. I think it is the way they viewed (and view) the synthesizer as an instrument in its own right. It’s an instrument with loads of expressive and emotional power. This as an idea was definitely picked up in the late 1970’s and 1980s by artist such as Depeche Mode, Tangerine Dream, David Bowie, The Human League, New Order, Japan, Gary Numan and loads of others, especially in Germany and Britain. This line of thinking is where I’m coming from as well in terms of how I view and how to “play” (and write songs with) synthesizers.
This is a huge part of the reason why I only use hardware and (mostly) analogue synthesizers in making and recording my music. I just love all of the hands-on controls of these machines and find that using them, especially in such a tactile way adds so much to my ability to express myself musically. Sound wise, I also believe that using hardware and mostly analogue synthesizers give Wavewulf that little something special and makes my music sound a bit different than many more modern (mostly software based) electronic artists.
Wavewulf have captured the powerful force of the seas in their new album ‘The North and The Sea’. The lead single ‘Luft’ opens with catchy synths and Nala Spark’s beautifully haunting vocals which create an almost hypnotic track. Wavewulf know exactly who they are what their sound is and the result is a cohesive, enchanting album. Each song off the album is unique and Wavewulf clearly hasn’t fallen into the trap of repetitive songs. The use of electronics to capture ideas of the ocean is a contrast that actually works really well and they’re successful in creating that imagery.
Whilst ‘Luft’ is their lead single, that does not mean that the rest of the tracks are worth skipping. Each song delivers a new experience and emotion whilst keeping Wavewulf’s innovative style going. If you’re just getting into Wavewulf, I’d recommend checking out Predator and Open the Gate (just two incredible songs off an accomplished album). It’s clear that Wavewulf has spent good time refining his artistry. The overarching theme of the sea, which was inspired by Long’s time in Iceland, is used to explore ideas of human experience. ‘The North and the Sea’ certainly does this and creates both a thought-provoking and auditory pleasing experience.
The opening track is the aptly titled ‘Open the Gate’ which introduces Wavewulf’s sound of dramatic synths. Nala Spark’s almost spoken-word vocals combined with a more ethereal harmony creates an almost other-worldly song that enchants the listener. Each song just continues to evoke a whole plethora of introspective emotions that enchant the listener. If you’re looking for unique, powerful songs it’s time to check out ‘The North and the Sea’.
Newcastle native, Easton Guillory charms listeners with his heartfelt EP ‘End of the Walls’. His powerful vocals alongside his acoustic guitar carry such emotion that goosebumps are inevitable. His lead single ‘Always With You’ tugs at the emotional heartstrings; it’s a letter from a late father to his son backed with Guillory’s signature acoustic guitar to create a moving masterpiece. Easton is living up to the legacy his father, Isaac Guillory, built with his work alongside legends such as The Buggles and The Rolling Stones. Sadly, Isaac passed when Easton was just two years old. The tragic emotion and love that Guillory feels for his father is encapsulated in the ‘Always With You’. The simple introduction builds to a chorus filled with passionate vocals and instruments before reverting back to the simple, yet haunting melody. It’s safe to say that Easton is creating a legacy of his own.
“When I moved to Leeds, I could fully express myself but part of that meant carrying the stereotypes of my upbringing with me. Although I had my share of rough experiences, I wanted audiences to see the beauty of my community too. I see the way people’s faces change when I start singing. They think ‘Hang on. Maybe there’s more here than meets the eye’.”
Growing up from a rough working-class background, Guillory battled fears of ostracization for his love of music. He didn’t let this stop him and now his erratic performance style embraces his working-class appearance. He also used his upbringing to fuel his music and this is clear in his closing track ‘End of the Walls’. Beginning with his staple acoustic guitar, Guillory delivers heartfelt lyrics about class and the struggles he’s faced. The imagery he uses perfectly encapsulates what it was like for him to grow up but is also extremely relatable. The combination of masterful strings and the spoken word style of vocals sounds unexpected but Guillory pulls it off and the end result is a song that enchants listeners with its real world events.
Bruce Williamson, best known as the former frontman of legendary soul group The Temptations, has died aged 49.
The singer died on Sunday (September 6) at his home in Las Vegas after battling the coronavirus, TMZ reports.
Williamson’s death was confirmed by his son, who paid tribute to his father on social media.
“There’s no words in the world that can express how I feel right now,” Bruce Williamson Jr. wrote on Facebook. “I love you Daddy thank you for being awesome thank you for being loving thank you for being who you are I pray to God and we will meet again.”
Born on September 28, 1970, in Compton, California, Williamson joined The Temptations in 2006 and performed with the group until 2015, singing lead on their albums ‘Back To The Front’ and ‘Still Here’.
He was also a part of the group, known for their iconic hits ‘My Girl’, ‘The Way You Do The Things You Do’ and ‘Get Ready’, when President George W. Bush invited them to perform at the White House for a celebration of Black History Month in February 2008.
Speaking in a 2013 interview, Williamson credited his background in the church for creating the foundation for him to become a member of The Temptations.
“After seven years as a Temptation I am still in awe,” he said at the time, “and I can remember the first time I performed with the group: at a millionaire’s private birthday party, on a small stage that was erected on his tennis courts.”
Thoughts are with his family, friends and fans at this difficult time.
A new study has claimed that a staggering 64 per cent of musicians in the UK are considering leaving the profession due to the financial impact of coronavirus.
The stark outlook comes from booking site Encore, which surveyed 560 musicians to understand how the pandemic has affected them financially.
On average, musicians have lost £11,300 from cancellations since March 2020 and 87 per cent of them have fewer gigs booked for August-December 2020 than the same period in 2019.
When the statistics are broken down even further, the research also reveals that young female musicians have 34 per cent fewer gigs booked for 2020 than men.
It is also claimed that pop singers are the worst affected, losing an average of £19,900 in earnings as a result of cancellations since March 2020.
According to Encore, many musicians are falling through the gaps of financial support too – with 41 per cent failing to qualify for the government’s Self-Employment Income Support Scheme.
Covid-19 has had an undeniably disastrous affect on the music industry and its musicians, with independent artists being hit the hardest. These new statistics demonstrate the reality of just how hard musicians have been hit.
For months MBW has been writing about the rapid emergence of rival US-based social short-form video service Triller, which recently claimed 250m worldwide downloads of its app – and is in the middle of a lawsuit against TikTok alleging patent infringement.
Meanwhile, under pressure from the administration of US President Donald Trump, Chinese TikTok parent Bytedance appears resigned to selling off its app’s operations in the United States and certain other territories, including Australia.
US-based corporations who have expressed interest in acquiring TikTok’s US operations so far include Microsoft, Oracle and supermarket chain Walmart.
Now, Triller has officially joined this list.
Triller CEO Mike Lu confirmed yesterday (August 28) that his Los-Angeles-based company has made a bid for TikTok with backing from London-based investment firm Centricus Asset Management.
Centricus already oversees a global portfolio with $27bn-worth of assets.
Said Lu: “We believe [Triller and TikTok’s] two teams can work alongside each other and create the best short form video platform. Triller would be the best home for all of TikTok’s users as we have always put product and users first. This is the beginning of a new chapter.”
According to a Bloomberg report, Triller and Centricus’s bid amounts to $20 billion, and would see Triller acquire TikTok’s assets in the US, Australia, New Zealand and India.
An incredibly interesting move from the rival platform, if finalised, could Triller create a monopoly over the short form video sharing app world?
Trey Songz has responded after he was accused of sexual misconduct.
The allegations emerged after a woman, known only as ‘Aliza’, alleged that a celebrity had urinated on her during a sexual encounter without her consent, and then refused to let her leave the room.
After remarking “I didn’t know what was happening, he just did it” on the No Jumper podcast, she later went on to identify Songz as the man in question.
Responding to the claims on Twitter, Songz wrote: “I usually stay quiet on this but I feel that in many ways the movement to fight for the women who actually have suffered harassment and abuse on various levels, has been hijacked by those who find it convenient for themselves to come up as they seek to destroy someone’s life.
“I brush it off every time but once you have an allegation no matter it’s true weight in validation, it’s now happened once and to some will be believable from that moment forward. None of that happened.”
Let’s hope victims received the support they deserve and the industry gets to the bottom of these allegations.
British Virgin Isles born and bred JayQ the Legend has smashed through the charts this week to snag the number 2 spot, leaving the big stars playing catch up to his recently released summer anthem ‘Amazing Girl’.
Amazing Girl is a feel good single that’s been making waves for Afro-Pop star JayQ The Legend. The track has been an instant success, slowly climbing through the competitive charts to put JayQ in one of the top spots. He comments-
“I hoped this song would catch quickly”, says JayQ The Legend “it is time we celebrate and respect women, and show them how truly amazing they are!”
Listen to Amazing Girl now to soak up the last of the summer glory.