Category Archives: Entertainment

APE|MEN – Zero | Music Profile

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ape men zero music news profileBand/Artist: Ape Men (stylized APE|MEN)
Location: Industrialized world, South Eastern Fringe of the European Union
Styles: Indie, Indietronica, Alternative, Indie Pop
Similar to/RIYL: Kasabian, Nine Inch Nails, AWOLNATION, Beck, Panda Bear
CD: APE|MEN – ZERO (2015, debut EP)

Accolades: This outfit hasn’t gigged outside clubs, but is a trio formed from indie band Gravity co. which has over 18 top musical achievement awards in South Eastern Europe, has opened for the Prodigy, Fun Loving Criminals, Stereo MCs, Kosheen, and others and has played festivals at EXIT (Serbia), Sziget (Hungary), Eurosonic (Holland), Bestfest (Romania), Spirit of Burgas (Bulgaria), and others.

Members/Instruments: Bobby, Ivo, and Petar
Bobby Cheshirkov – Vocals, guitar
Ivo Chalakov – Guitar, vocals
Petar Samanliev – Computers & gadgets
Production:
Composed by Ivo Chalakov
Lyrics by Bobby Cheshirkov
Co-produced by Ivo Chalakov & Petar Samnaliev
Arranged by APE|MEN
Mixed by Petar Samanliev & Ivo Chalakov
Mastered by Plamen Yotov

Tracklisting:
1. Pictionary
2. Bye-Bye Devil
3. Up Is the New
4. Cash
5. Zero Pictionary

Bio:
Ape Men (APE|MEN) are an edgy indietronica trio from the post Iron Curtain fringes of the European Union formed in 2013. The band paint an urban soundscape with gritty scuzz guitars and moody lyrics over saturated synthesizers and thumping electo beats.

The band’s debut EP “ZERO” was released independently on Feb 19th, 2015. The EP is accompanied by a single and music video release for “CASH”. The video was directed by Ruscen Vidinliev.

 

 

Mylets | Music Profile

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Mylets Music Profile
Artist: Mylets
Album: Arizona
Label: Sargent House
Release date: 20th April 2015

Under the moniker Mylets, Henry Kohen takes on the roles of several musicians at once. The wunderkind guitarist who, at 17, became the youngest artist signed to Sargent House has since established his reputation as an awe-inspiring and agile performer, playing across North America and Europe multiple times over the past couple of years.

Dancing across multiple guitar pedals that line the stage, Kohen also sings and lays down guitar loops while simultaneously tapping out beats on a drum machine. Nothing is pre-programmed. Every note played is as organic and fallible as its performer. Kohen’s physicality and presence is captivating on stage, but what’s even more impressive is that his songwriting talent is equally as vast and varied as his multitasking skills.

Arizona is the defining work of a masterful tunesmith. Despite their complexity, the songs are never disrupted by the intricacies running beneath their hyper-infectious pop structures. Kohen operates his equipment like the conductor of a small orchestra, summoning fully realized melodies from his devices. “I put in a lot of effort to make every single word and note of each song as deliberate and concise as I could,” Kohen explains, “rather than throw out an unintelligible overflow of information.”

Album opener “Trembling Hands” is a massive, hook-heavy anthem driven by layers of churning guitars and distortion that stirs somewhere between the throaty verses of Broken-era Nine Inch Nails to the hymnal anxiety of a Cloud Nothings record. The title track follows with a cascade of syncopated guitar arpeggios setting the stage for a reverse-reverb soaked vocal harmony that chimes like something off of U2’s Unforgettable Fire. And, that’s the beauty here: Mylets appeals to every listener, not just other musicians. Kohen understates his unparalleled and highly specific skills and instead forces the emotion informing his music to the forefront. This ability is what makes the songs on Arizona command repeat listens.

Mylets first came to Sargent House’s attention with a series of self-released solo EPs, much of which were remastered and compiled on the label’s 2013 release Retcon. Around that time, Kohen relocated from Columbus, Indiana to Los Angeles, residing at the artist-friendly Sargent House all the while working intensively on prepping Arizona material for the studio. In the interim, Mylets also toured extensively on different continents with And So I Watch You From Afar, TTNG and Emma Ruth Rundle. “Because of the range of time spent writing, it was very important for me to capture the concepts of creative and personal growth within the songs on the record,” Kohen says. “I recorded the album twice under very different circumstances in 2014 and on the second round of studio time, I left with a product that I felt was as true of a representation of what was initially in my head as I could have created.”

Arizona will be available everywhere on LP, CD and download via Sargent House on 20th April 2015.

 

 

 

Chuffing brilliant! The Railway Children Theatre Producer Tristan Baker Talks

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The Railway Children on stage at Kings Cross, London

The Railway Children on stage at Kings Cross, London

Theatre producer Tristan Baker talks about the show where the West End’s heaviest leading lady is not only delighting audiences of all ages, but is also inspiring marriage proposals …

Take one of the best loved books and films of all time. Add a vintage steam engine, a superb cast and mix well. While the ingredients are blending, crack on and build a theatre from scratch, including a railway track, against the clock. Add a dash of blind panic and garnish with lashings of Edwardian style. Serve to critical acclaim and enchanted audiences of all ages.

That’s the simplified version of how The Railway Children came to life at its new home in London’s Kings Cross. The unabridged version involves so many technical challenges that you could travel from London to York on old rolling stock in the time it would take to tell. Certainly one of the show’s producers reckons that the team who made it happen deserve their share of the five- star reviews.

“I am very proud of the team,” says Tristan Baker, with feeling. “In five weeks they built a one-thousand seat, purpose-built, theatre from the ground up, including laying a train track. It meant working around the clock to get the show on – they were sometimes laying track in the rain at 2am – but they did it.”

And when he says it’s a purpose-built theatre Tristan isn’t exaggerating. Walking around the venue on King’s Boulevard with him, the detail is extraordinary; from the state of the art heating system (to ensure maximum audience comfort), to the unique railway platform stage. Located behind King’s Cross Station, the site has been loaned by Google and will one day be Google HQ. But for now it is home to The Railway Children – “a steam engine rather than a search engine,” laughs Tristan, explaining that the objective was to create not just a show, but an experience.

“It is very site specific. From the moment you arrive and pick up your tickets you are in Edwardian England.” Bang on cue a group of costumed front of house staff surge forwards to greet members of tonight’s audience, directing them to the foyer, which is a perfect replica of an Edwardian station waiting room.

“Our front of house team are all carefully selected and trained to give the audience a really wonderful and authentic experience,” says Tristan, navigating a path through an excited party of teenagers and a group of middle-aged ladies who have come up from Cambridge for a day of shopping, lunch and theatre.

Undoubtedly it is a show with universal appeal. An average audience comprises dating couples, families (from toddlers to great grandparents and all the generations in between), tourists, students, WI ladies, book clubs, Guides and Scouts – people of all ages.

“They are all transfixed,” says Tristan, adding: “I think adults experience it on a different level. Maybe they remember the film from when they were children, or perhaps reading the book, but as adults they realise the political and emotional aspects of the story.” Leaping nimbly up the steps of the bridge that separates the two platforms (the audience sit either side of the track) he stops and looks fondly up at the hefty leading lady, her paintwork gleaming under the lights. “And who can fail to be excited by a three-hundred ton steam train arriving on stage?”

He’s got a point. The magnificent engine is breath-taking. Dating back to 1896, complete with a vintage carriage, this grand old lady is, quite literally, the West End’s biggest diva. Transported from the National Railway Museum in York on a low loader, even her arrival was the kind reserved for superstars as, like the most illustrious celebrities, she arrived with a police escort.

Adapted by Mike Kenny, The Railway Children was first produced by York Theatre Royal at the National Railway Museum, York in 2008. Two sell-out seasons were followed by a transfer to Waterloo Station, where it opened in the former Eurostar terminal and again enjoyed smash-hit success, bagging the 2011 Olivier Award for Best Entertainment along the way. And steaming into Toronto in 2011, Canadian audiences also fell in love with this stage version of Edith Nesbit’s classic story.

Telling of three children whose lives change dramatically when their father is mysteriously taken away and they are forced to relocate from London to a cottage in rural Yorkshire with their mother, the book was first published in 1906. Exciting, with plenty of adventure and drama at its heart (“what happens to the children is quite awful but they are resilient and make the best of their situation”), heading the current cast is Caroline Harker as Mother and comedian and actor Sean Hughes as Mr Perks.

“Sean has just joined us and he brings a joyous warmth to the role,” says Tristan, agreeing that ‘joyous warmth’ pretty well sums up the feeling that audiences go away with.

And it seems that The Railway Children also inspires romance. “We do get a lot of couples coming to the show on date nights and we have recently received a request for permission to make a marriage proposal from the train,” smiles Tristan, as we take our seats.

Long before we reach the end of the last act, with the heart-rending ‘Daddy, oh my daddy!’ line, the reasons for the production’s success are abundantly clear. With ‘wow!’ factors at every turn, this much-loved classic story has been transformed into chuffing brilliant theatrical experience. Whether you’re eight or eighty, it’s one that should not be missed.

Come on now! All aboard!

Vicky Edwards

THE RAILWAY CHILDREN

King’s Cross Theatre, Goods Way, King’s Cross, London N1C 4UR

Currently booking until 6 September 2015

Box Office 0844 871 7604

Website www.railwaychildrenlondon.com

Facebook www.facebook.com/railwaychildrenlondon

Twitter @TRCKingsCross

Google+  plus.google.com/+RailwayChildrenLondon

Fufanu Debut Single Circus Life | Music News

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Fufanu Debut Single 'Circus Life' Music NewsFUFANU: ‘Circus Life’ [b/w] ‘Goodbye’
Debut Single, 6th April One Little Indian

Formerly operating as techno duo, Captain Fufanu, with the addition of live instrumentation – and the band name shortened to a more economical Fufanu (“the Captain was left behind at a rave in Cologne”) – the Icelandic group began working up a dark, metronomic take on 70s and 80s European music.

The rolling, hypnotic, seven minute ‘Circus Life’ – uploaded to YouTube in October – primed early adopters at Rolling Stone (‘Disclosure attending Bela Lugosi’s funeral’), Line of Best Fit (‘…like a mythical Ouroboros’) and JaJaJa (‘mesmerising’) – and is formally released as Fufanu’s debut single on the 6th April, backed with shuddering and drolly-titled live opener, ‘Goodbye’.

In the space of one week last November Fufanu became the most talked about new band of Iceland Airwaves, made their UK live debut at JaJaJa Festival and supported Damon Albarn at the Albert Hall – winning the approval of Brian Eno into the bargain.

They repeated the trick in January with crushing sets at Eurosonic and are back in the UK supporting *Bo Ningen in early April as below:

Wednesday 1st April London, Hoxton Bar & Kitchen*
Thursday 2nd April London, Sebright Arms

Fufanu is: Kaktus Einarsson (vocals)/ Gulli Halldór (guitar/programming).

 

 

 

At the Foot of the Cross by Angela Taplin

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An evening of music, prayer and meditations for Good Friday from Radio 2

Radio 2 recently recorded an evening of music, prayer and readings for Good Friday. Tickets were free through a ballot so on a damp evening in February a friend and I went along to Methodist Central Hall, hard by the Houses of Parliament. Arriving about 5.30, we found most people heading home so we had a chance to walk round the outside of this famous landmark without benefit of surging tourists and selfie sticks. It’s such a fine building and in the twilight gap between showers it looked beautiful.

At the Foot of the Cross by Angela Taplin 1

We made our way through ancient courtyards to Methodist Central Hall, another impressive and imposing building.  It was the first time I’d been to a radio recording for many years (the last time was a pop quiz in the 70s, I think). The music was provided by the BBC Concert Orchestra with a chorus drawn from a number of London choirs, with three soloists – Jermaine Jackman, winner of The Voice 2014, Louise Marshall and 12 year old Helena Paish, one of the BBC Radio 2 Young Choristers of the Year.

Readings were given by Patrick Robinson, star of Casualty and Strictly whilst prayer was led by The Revd Michaela Youngson. The evening was presented by Diane Louise Jordan, well known for her appearances in Songs of Praise. We assembled in the auditorium which was dominated by the beautiful cupola and where the acoustics were perfect.

At the Foot of the Cross by Angela Taplin 2

The music programme was varied: traditional English, gospel, well-known hymns, with an underlying thread of connections to the Great War. Butterworth’s The Banks of Green Willow, a pastoral piece inspired by English folk songs, was rendered particularly poignant by the knowledge that he died in 1915 during the first battle of the Somme. The second half consisted of Sir John Rutter’s Requiem in which the pure tones of Helena Paish shone clear in the Pie Jesu. It was a thoughtful and moving evening.

At the Foot of the Cross by Angela Taplin 3

At the end of it all, my friend and I felt happy to have been part of it and will look forward to hearing it all again when it is broadcast at 8pm on April 3rd, Good Friday, on Radio 2.

At the Foot of the Cross by Angela Taplin 4

 

 

 

Angelina Jolie Gives Inspiring Speech In First Post Surgery Appearance | Video

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Angelina Jolie Gives Inspiring Speech In First Post Surgery Appearance, angelina jolie, daughters, speech, surgeryFirstly, if you have not read Angelina Jolie’s moving account of her latest preventative cancer surgery then you should. Two years after having her breasts removed she had her ovaries and fallopian tubes removed and has since gone into menopause. Read her moving account here. In her first appearance since writing the piece for the New York Times she gave a heartfelt speech telling the audience at the Nickelodeon Kids’ Choice Awards that it is okay to be different.

Jolie said: ‘Different is good. So, don’t fit. Don’t ever try to be less than what you are, and when someone tells you that you are different, smile and hold your head up high and be proud.’

Jolie made the speech after winning the Favourite Villain award for her role in Maleficent. She attended the awards with her gorgeous daughters Zahara and Shiloh, melting hearts everywhere as her daughters screamed and hugged their mother. Watch the video below.

Do you find Jolie inspirational?

 

 

The Great Escape All I Think About | Music News

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thegreatescapemusicnewsBand/Artist: The Great Escape
Location: Los Angeles
Styles: Alternative, Pop
Similar to: Black Keys, The Heavy, Adele, The Dead Weather, Janis Joplin, American Authors, Arctic Monkeys, Amy Winehouse
CD: Self-Titled

Members/Instruments:
Amie Miriello – Vocals
Malte Hagemeister – Guitar
Kristian Nord – Drums
Production: Produced by Kristian Nord & Malte Hagemeister for Nordmeister

Bio:
This is why they still call it the Golden State: The 49ers found it in the dirt, a century later the Dogtown kids discovered it in the shape of backyard pools, and now, some four decades further down the road, The Great Escape, a foot-stomping, genre-busting three-piece from Venice, have struck that California vein again –
with their own blend of raw energy song craft.

Inspired by everything the West Coast has come to stand for – the surf, the sun, the laid-back attitude, the proverbial Dream –, every single track, every chorus, every story they tell oozes that fun-loving, grit-digging vibe and feel. And you can just tell they had to go the extra mile to unearth what they were looking for: After all, two of them, Kristian Nord (drums, production) and Malte Hagemeister (guitars, production), are originally from Hamburg, Germany – these guys came a long way to live that Dream. Joined by powerhouse singer Amie Miriello, a Connecticut native and seasoned performer, they are about to release their debut album, a collection of songs that offers just what it says on the tin – A Great Escape.

Having first met while songwriting for other artists, the three L.A. transplants quickly realized they had a shared vision: Together, they wanted to create an update to that 60s, 70s sound when rock and pop music was still raw and unpolished. When it didn’t come attached with layers of irony or slick braggadocio. When it was nothing but a celebration of emotional storytelling, bold statements and heartfelt sentiments, poured into lavish melodies and harmonies. Hence the chorus, “this is a time to celebrate/What a beautiful escape,” as Amie sings over the pounding, surf’n’blues-heavy bliss that is “It’s Getting Better”.

Channeling the classic, timeless approach of their all-time favorites (e.g. Hendrix, Joplin, Cohen, Stones, the Beatles), but also nodding to their contemporaries (Adele, The Black Keys, The Heavy, Jack White), The Great Escape’s self-produced debut full-length has this no-holds-barred approach written all over it: “All I Think About” is all clapping, until the track breaks open into a huge chorus about longing, whereas horn-fuelled “Rebel” showcases intense dramatics and the amazingly powerful, raspy voice of Amie: “some people call me insane/they just ain’t on my level”. Elsewhere, the playful, sun-drenched “Secret Song” even flirts with gospel, soulfully majestic “I Want It All” is pure retro splendor, and even though “Let’s Go” sees them take off to higher and higher levels, they certainly know how to conjure minimalist, sweet and melancholy daydreams (“Don’t Wake Me Up”, “I Just Can’t Help Myself”) as well.

“Lots of first takes made it on the album, and most vocals were recorded right after writing the songs,” explains Malte, whose “demo guitars often stayed because they just had that right feeling.” Keeping things spontaneous and DIY, it’s “all about the performance, not about perfection,” Kristian adds. “When a take had the right kind of vibe to it, we just moved on and didn’t even second guess it.”

Album guests include old studio hands such as Stanley Behrens on blues harp (Jimmy Smith, Canned Heat, War, Willie Dixon), Kevin Dorsey on vocals (Michael Jackson’s vocal director, Ray Charles, Santana, Aretha Franklin), Zac Rae on B3, piano and keys (Lana Del Rey, Norah Jones, Santana), as well as a shape shifting horns section comprised of Katja Riekermann (Rod Stewart, Al Green) and Marco Palos (Los Lobos, Louis Prima Jr).

Trying to discover her true self, she has “traveled far and wide, but never understood,” Amie sings on “I Just Can’t Help Myself”, and yet it seems that after all this traveling and digging, they have finally struck the kind of “pay dirt” that really shines in their hearts and minds: “Don’t need a stake in the ground,” she sings elsewhere, “that’s not for me/Flow with the rhythm of the sound and the beat.” That’s more like it: A steady flow, no blinders, no rules. Music that feels more like an endless Hang Ten, pure, unfiltered playfulness on top of a wave, rather than some quick, steely-eyed Eureka moment.

With packed high-energy shows around L.A. already under their collective belt, The Great Escape have come to bring that gritty rawness they scooped out along the way.