After reviewing Natives’ debut record – 2014’s Indoor War – and live show almost four years, it was a pleasure to speak with the band’s Jack Fairbrother to discuss what 2017 and beyond holds for the quartet. Hailing for The New Forest, England their enticing and tropical sound is in tune with Busted’s restyled vibes as showcased on Night Driver, and it therefore makes perfect sense why they were selected as sole support for the band’s recent UK tour.

The Natives own live show is equally brimming with energy, and if the songs were equally known, the party atmosphere would likely be equalled without a problem. Looking to broaden that reach and expand on their popularity, the part will release their two-part second album this year, proclaiming the beauty of “tribal pop” to the masses.

You can read the brief conversation we had with Fairbrother below, slightly edited for easier reading, conducted in a fire escape (don’t tell Health & Safety) due to the strict nature of security at a Busted headline show. It starts and ends abruptly, but hopefully it convinces you of the band’s impressive craft:

Musos’ Guide: Firstly, how’s the tour been?

Natives’ Jack Fairbrother: It’s been great.

MG: Coming to an end soon, three dates left?

JF: Three dates left for us, yeah. It’s been amazing, we get to play in beautiful theatre venues, which is quite rare, very regional. We get to play in places that most tours this size don’t come, like Southend, Folkestone, Aberdeen, which is really cool. Busted have treated us amazingly well, played to loads of people, no complaints at all.

MG: You’ve been keeping a tour diary on Facebook, looking through those videos the music isn’t your music, which a lot of people would do, how did you pick the songs?

JF: It’s pretty simple actually, you’re not allowed to put music on videos online without permission. So, we had the choice of either just making it all about us or struggling, but our manager runs a record label [LAB Records], and so we can get clearance to use those songs. We just picked songs from that label that we liked, we’re supporting a record label that we like, bands that we like, it makes sense to us to do it like that rather than it just be like a Natives song every time. People on our page probably know what our songs sound like already, so why not spread some of the music we like and a record label we like?

MG: You’re quite active on social media as a band, do you think that’s important?

JF: Yeah, I think so, it would be weird if we weren’t like that because we preach quite a lot about the power of community, and because our band is all about community it would seem very wrong to talk about how everyone should come together and how every should build a community, but then not lead by example. So, you know, we want to chat to everyone, it’s like a no brainer for us, it’s just like part of the day, we make sure we’ve got enough hours in the day to make sure we spend time replying to all the messages and to say hello to everyone, because we’re very grateful that people are into our band.

MG: You recently, officially, announced an upcoming headline tour, do you have any comments on that?

JF: Yeah, excited. We’ve done three support tours now in this cycle, and we kinda do our thing where we’re trying to persuade people who don’t know who we are, like get them into our band, and there’s something very cool being like that when you’re supporting, it’s a different thing. We’re looking forward to the challenge of when someone’s bought a ticket to our tour, they want to see us, so it’s a whole thing of playing a longer set and how can we give them the most value of our band without having to sell the band as a new thing to them. When we play tonight, 90% of the room probably doesn’t know who we are, so it’s like giving them a snapshot in half an hour of what Natives is about, but when we go out on the headline tour those people have paid money because they wanna see us perform live, so you’ve got to make sure that’s the most value and not the most Natives it can be.

MG: The upcoming album, is that finished, or is it still in the works?

JF: Yeah, that’s coming out, it’s so long that it’s coming out in two halves. Because it’s a twenty-track album, and no-one wants twenty tracks in one go, that’s too much. So the first half, the first ten tracks, are being released on May 19th, and the second half will follow later in the year. The novel that accompanies it will come with the second half at the end of the year.

MG: The novel encompasses both halves?

JF: Yes, so it is one thing, it’s not like we wrote it in two halves, we wrote the whole thing as one big twenty-chapter narrative, and then because we had twenty chapters we wrote twenty songs. But then when we came to listen to it, 95 minutes, or whatever it is, is a lot of music in one go so we felt like it made more sense to split them in half. So that’s why the novel comes with the second half, because it tells the story of the whole album, and we don’t want to reveal the second half in the novel before the second half is out. When the second half comes out, it’ll be twenty track piece.

MG: Is it going to have two names, or just one name, part one and two?

JF: No, it’s got one name, part one and part two, but we haven’t announced the name. Just one name, which is the name of the book, we had the book and the story before we had any music.

MG: Are there any visuals to go with that, you have the music and the words, are there illustrations?

JF: We would love to, the dream would be for it to be a theatre musical, and we’d really strive for it, it’d be a rock opera type thing. We haven’t got plans at the moment, that’s obviously a big thing to organise, but we talked about doing some animation and stuff, but at the moment it’s just the book and the music. But the artwork is very linked as well, we’ve been like creating these symbols and stuff, it’s all part of this. We’ve created such a vast world for it, and there’s so much intricate detail in the lyrics and in the book, that there’s so much room for expansion that we’d love to do like a film and all these things, it’s just figuring it all out.

MG: Are the symbols on the single covers part of that world, that imagery?

JF: Yeah, exactly, it’s kinda our own take on ancient glyphs or runes, and so with each single cover the texture and the colour represents something to do with the track, and then the symbol itself, the glyph, we designed each one ourselves and they sum up either what’s happening in the narrative or some theme in that song. For example, in ‘Warpaint’, which is the latest single we released, the glyph is our take on this maybe like abstract brickwork because that song’s talking about foundations and building a city, and our symbol, the point at the bottom of that because it’s about the foundations of this tribe and this community. So, everything has a message which is embodied in the art, and it’s all part of this one big story.

MG: How did the story come together, did you build it up in parts, or did you have a complete saga which was then divided into parts?

JF: Yeah, pretty much, yeah, it wasn’t written in twenty parts, it was just like we had this timeline, this story that we wanted to tell and then when we split it up into songs it fell into twenty chapters. Well not when we split it into songs, when we split it into chapters, it went into twenty, and then it made sense to just write a song for each chapter. That’s just kinda how it fell, it’s wasn’t like we were aiming for a nice round number, it just ended up like that.

MG: How did the songwriting fall with that, was it always as a group, or did certain people take parts they felt more affinity with?

JF: It’s very communal, generally the process would be that Andy [White] would have a basic track that he’d built up himself as a producer, bring that to us and talk about it. We treated it like soundtracking films rather than writing pop songs, so we would be like “What’s happening at this part of the story?”, we’d talk about it, and then we would all sit down in the studio. It definitely wasn’t a live thing, it wasn’t like we were all on instruments jamming, it was very much a studio thing, like composers or whatever. We just wanted to soundtrack this story, it was a very studio thing, there was no intention of the live show being the same as the CD.

MG: How would future live shows go then if this is supposed to be one full entity, and if you’re touring between parts, do you miss out tracks from the second part?

JF: In May and June, we’re intentionally playing songs from the first half, bar one, which we already play in the set which is on the second half. But eventually we would love to do the full thing live, it’s just a lot of work actually to figure out how to play the songs live, because they’ve never been performed that way. We really need to sit in our studio and like deconstruct them, and be like “How can we make this song work in the live environment?”

MG: Listening to the new and old singles, the new music really encapsulates that “tribal pop” vibe a lot more, was that intentional?

JF: I think that’s what happens, I think that very much on this album we made it for ourselves not anyone else, so with the first album I think subconsciously we were trying to please people. That’s not to say it was forced, we really love that album, but it definitely feels that we were worrying about what people would think, under the radar. Whereas this time, it was a conscious effort to just make music that we enjoyed, and it just happened to come out that we’re quite inspired by world music, and that seemed to bleed into our love of pop, and when you mix the two together it ended up at this “tribal pop” thing.

Now that you’re suitably acquainted with the band, after that whirlwind tour, you can listen and watch their single ‘Chasing Lions’ below to get a taste of the appealing sound, which is sure to put a smile on your face, even on the bleakest of days. Additionally, you can find a list of those headline tours dates on the See Tickets website, should you be looking for a party later this year.

It’s February and it 37 degrees in Perth, Australia when we talk to Alex Brittan aka Kittling about his new single, ‘Joy’. Inspired by African rhythms, ‘80s synthwave, and armed with a bright, breathless falsetto, Kittling’s music is made for bodies that like to think, as well as feel. His previous work as a producer has received acclaim online and locally. We find Alex in a mischievous mood ...

MG: Is ‘Joy’ your first single?

AB: It’s the first under the name Kittling. I’ve released singles under my own name before, two years ago, and I wanted to try something new and change my sound. I released some stuff in 2015. That went quite well but I was entirely self taught and I wanted to go back to study, learn some more stuff, become a more accomplished musician, and then release some more music. So I took a year off music and went to study music production, working with Ableton, recording live sounds, and now it feels like a fresh start.

MG: In the old days people got into music for the sex and drugs and rock ‘n’ roll but now you have to work at it.

AB: It’s a lot more professionalised now. You have to be genuinely good at music these days to get anywhere. I think some people can get away with having an average singing voice If they’re really good at another aspect; if they’re a top songwriter, a great lyricist, great at production, or great at an instrument. You need to have that top quality skill, you can’t coast on good looks and an average voice. It forces you to keep upskilling.

MG: Do you play live?

AB: I played a lot live a year and a half, two years ago when I released my first EP. This time I want to release a couple of singles and build a bit of an online following, and then start playing when there is more of a demand for it. To build the demand before you supply. I am working on my live show right now. I’ve been reaching out to a few people, finding musicians. And I’ve to buy a few more bits of equipment. So I’ll probably start playing live in the later months of the year, in September, October.

This is a soft opening. We’ve got the first song out, I’ve got about three songs on the back burner waiting to be released. They’re all a bit different. They’re a bit ‘80s. They’ve got ‘80s synths and sounds but they’re quite contemporary as well. I’m working with other singers so not all the singles will have my voice. There will be guest vocalists. I want to push myself as a producer as well as a songwriter. I don’t want to go too retro, where you feel like you tuned to a classic FM station, but there is a nostalgic, comforting feeling hearing those retro sounds. And then it’s very modern in terms of the beats and the melody lines. I want to keep the songs lean, mean, and to the point, but lush and atmospheric. The ‘80s thing is very en vogue right now. A lot of my favourite acts are doing similar stuff.

MG: You’ve African beats in it as well.

AB: I was really interested in tUnE-yArDs. The great thing about her sound is all the African rhythms and African-inspired rhythms in her music, it’s really interesting. The traditional African instruments have this dry, wooden texture.

MG: The name Kittling is an old Scottish colloquialism.

AB: Apparently! So I’m told anyway. No, I'm fairly confident it is what it is. It's an old term that’s not currently in use. It’s had its day. It means to tickle or arouse. It's kind of mischievous. I like that it’s really cheeky. And it's got an accidental second meaning for me. When I told my mother the name she asked if it was to do with her family. Her German ancestors were Kittler and Schilling. So it has a double meaning for me now, being a throwback to the past and a bit mischievous. Even though it’s an old colloquialism it sounds very young, like a child’s word.  It’s very percussive as well.

MG: I was going to ask if you had Scottish family but evidently they're Germans.

AB: Yes, Irish too, on my mothers side.  Her dad's family are McEntees. And I didn’t find out until I was in my teens but my great uncle is Mark McEntee of The Divinyls. They were an Australian band and they had one big single, ‘I Touch Myself’. It must run in the family. No Scottish influence but I do love the Scottish accent. I grew up watching Taggart. That opening of the show when they say “there's been a murder!”

MG: Its always makes me think of that Fast Show skit with the gruff Scottish detectives.

AB: The Fast Show? I'll look it up. I love a recommendation.

MG: Speaking of recommendations, Can you recommend any other Australian bands?

AB: My favourite artist down under at the moment is an act that I don’t think too many people know about overseas, called GL. It’s a duo, a man called Graeme and a lady called Ella. I did a couple of singing lessons with her when I lived in Melbourne. She's got the most phenomenal ,soulful, pure-toned, velvet voice. Very soulful but very contemporary. They've got the ‘80s vibe, very lush, but her voice is so great, it holds everything together. They're my favourite act right now. And they do a great live show too.

In a similar vein, Client Liaison are really good fun. They’re kind of retro pop synthwave. I'm really into future based stuff like what Mura Masa is doing, Kilter, Palace, they're all great. They’re creating upbeat music, like pop music but more Interesting. Not mainstream, more alternative.

Late last year we talked to Jo Wilson, whose album The Grand Complication was released in early December. In the interview, Jo discussed the creation of the album, his songwriting process, and what inspires him. Here, Jo takes us through the album track-by-track and tells us more about each song. Read on to find out about the events and realisations that kick-started his creative process and the musical choices Jo made while creating the record. If you'd like to listen along as you read, then click here to listen to the album via Bandcamp. 

1. 'Prognosis'

Ever had a piece of news that made you age several years in a day?

The inspiration for this song came after learning that a family friend had been diagnosed with Parkinson's disease, and I began to think a bit about how receiving news affects us.  Some pieces of news, delivered in just a few moments, have the power to instantly and irrevocably change our perception of what our future might be like.

After my other two albums (released as DLDown), which both began with atmospheric instrumentals, I wanted something more immediate this time around, making my voice the very first thing heard.

2. 'Peter’s Out'

Growing up through Sunday school can make you very au fait with some truly odd stories! Things that you took on board without batting an eyelid in the past, on the rare occasions that you subject them to real close inspection now, can make you go “wait, he did what?!”.

I like to try and think my myself right inside the story: not just how did people feel, but questions like "How did all that food multiply and nobody saw how he did it?", "What did the surface of a stormy sea feel like to walk on? Solid? Sloshy? Like cornflour?”

The tremolo synth in the build-up is a recreation of one my favourite Lightning Seeds sounds from the mid-90s.

3. 'The Watchmaker’s Waltz'

This one wrote itself after I read the obituary of a legendary watchmaker (or horologist, for my fellow pedants) called George Daniels - a fascinating master of dozens of different crafts. The opening line is (almost) a direct quote from Daniels, telling of when he found a broken watch lying in the gutter and knew he’d found his life’s calling. The complex timepieces (usually with all sorts of unnecessary but beautifully intricate features added for the joy of the craft) - Grand Complications – give the album its title.

I know nothing about Daniels’ private life, but the impression I got was not of a particularly happy man; hints in the article about a strained relationship with his daughter were easy to fill out with a little poetic licence.

4. 'Outrun'

The setting for this song is a Butch Cassidy and the Sundance Kid-type landscape, through which hidden enemies may or may not be tracking you.

It's a song about the frustration of being hit by the same struggles and temptations repeatedly, even after long periods of winning.  The idea of the punctured waterskin is an attempt to get across that feeling of our new year’s resolutions being sabotaged, whether by human nature or external influence, and having to constantly go back to the tap for a refill.  I suspect none of us are as good as we’d like to be, when we allow ourselves to think about it, and I don’t think that’s too unhealthy a position to find oneself in.

Leading a song from electric is new for me, and I’ve enjoyed the broadening of the sound palette that brings.

5. 'Drones'

It seems to me, the courage and sacrifice of individuals who fight and die to defend us notwithstanding, that the history of warfare is underpinned by the constant drive to be as cowardly as possible: to deal as big a blow as we can whilst keeping the other side as far away (in sight and in mind) as possible. In doing so, we lose any perception of the humanity embodied in those we face - which is what makes recent rhetoric from right-wing politicians and media - now seemingly mainstream - so terrifying. We’ve come a long way since Christmas football between the trenches.

Musically, this is the centrepiece of the album. In my head at least, the song can work equally well as a brooding acoustic piece or as a full-on multi-movement prog-rock extravaganza; I think it’s ended up a kind of combination of the two.

6. 'Still Life'

Some claim to have heard God speak, audibly, with actual sound waves. I haven’t, but this is perhaps the closest I’ve come to that.  In ancient Celtic spirituality there was the concept of a Thin Place, a location/time/circumstance where the physical and the supernatural seem somehow closer together than usual. I think I found one in a little room in Sick Kids hospital in Edinburgh, when we went to visit a relative who died far too early. Psychology and spirituality have a tendency to overlap, never more so than at times of high emotion: I'd be prepared to admit that it was all in my head, but then, to quote the great Dumbledore himself, “Of course this is happening inside your head, Harry, but why on earth should that mean that it is not real?”

From a perusal of my listener stats (always a dangerous place for the self-esteem, so I don’t dwell there too long!) it’s fascinating to me that Still Life has by far the highest ratio of listeners listening to the whole song, right through to the end.

7. 'Parallax'

I miss those friendly arguments you used to have late at night as teenagers, once you’d exhausted all the “who d’ya fancy?” chat, and got onto deeper subjects.  I’m less concerned about the particular viewpoints (deliberately mixed up throughout the song), but about the acts of discussing, imagining and wondering.  Perhaps we learn the most from moving our heads a little to see from the other viewpoint.  I don’t get out to look up at the stars as much as I’d like any more.

Much as I love odd time signatures, this one ended up as it is (after trying all sorts of more standard rhythms) purely because the lyrics flowed much better in 5 than in anything else I tried, rather than oddness for oddness’ sake.

8. 'There Is No Plan B'

A couple of Jehovah’s Witnesses came to the door and asked me if I’d thought about the end of the world enough.  So I did.  But probably not in the way they meant.  I started wondering about the human race’s capability, and to what extent our future is down to us, and how much is beyond our control.  We can do some amazing stuff, but is it enough? Would we have the capacity to move out if the Earth was threatened? 

It was fun to do something with a bit of a different sound, though I was determined that it would still be playable as a solo piece.  Despite all the synthesised sounds, the only sequenced item in here is the drum machine - every other track was me playing live.

9. 'Alea Jacta Est?'

The perhaps inevitable product of having too many snippets of music lying around, the vague stirring of a memory from Higher Music about aleatoric music, and a long-standing mild annoyance about bonus tracks that really don’t fit the album, these are intended to be the result of the dice being (drum-)rolled at the end of There Is No Plan B - an uncertain future crystallising in a particular way. [NB. each copy of the album contains one of 11 completely different 1-minute instrumentals, randomly selected by dice roll. Which did you get?]

The track title comes from a phrase attributed to Julius Caesar as he made the decision to send his army across the Rubicon (which is also where that phrase comes from!), meaning “the die is cast”.  My (dubious) Latin knowledge comes almost exclusively from reading Asterix, rather than from any formal education.

10. 'The Music In My Head'

I have a fondness for music with decent instrumental sections, whether composed or improvised, which can often convey emotions better than lyrics can.  This is kind of a hybrid of many of my favourites from various sources:  Pink Floyd-style guitar & pads, Phish-like jams and build-ups, Rick Wakeman-esque synth leads, and a Springsteen-ish saxophone victory lap at the climax!  This, more than any other piece, was written as I was recording it - I had no idea how it would end up.  I really had fun just experimenting and seeing where it would go next, and working out how to pass the melody line from instrument to instrument.  And I recall polling fellow musicians for suggestions on how on earth to get the F# major chord at the end to drop into the Ab/Bb at the start of I’ve Seen Enough.

11. 'I’ve Seen Enough'

For some, faith is awakened suddenly as the result of a particular event or experience; for me it’s been more of a slow build.  As something of a scientist by nature, I’ve long had trouble with the idea that somehow science and faith are incompatible.  For me, the two spheres of thought address different types of question, yet each can inform, inspire and challenge the other.

The ending of this one has undergone several re-writes, as it felt far too unequivocal, as if I was now settled and immovable, entrenched.  Instead, I’ve tried to get across the idea that whatever we believe, we need to be constantly re-evaluating it, as our ideas of what we think scripture says are challenged by life in this broken world.  I’m not sure if I’ve succeeded.

**

More in-depth versions of these discussions can be found at www.jowilsonmusic.com. To listen to, or purchase, a copy of The Grand Complication, head on over to Jo's Bandcamp page.

RJ Thompson recently did the circuit with Jools Holland and garners comparisons to Jamie Cullum, but we think there is more to the pianist than initially meets the eye. As he continues to work behind the scenes on his heavily anticipated second album, the Geordie musician has released a poignant and pointed cover of Bob Dylan's 'The Times They Are A-Changin''. While we need not ask the reasons (Trump anyone?), we caught up with RJ to find out what else he is up to.

MG: Hi RJ. What a brave choice of song to cover! What drew you to 'The Times They Are A-Changin''?

RJ: I'm a lifelong Dylan fan, but this song was always a tricky one for me. Last summer I revisited it and started to perform it at gigs and the reaction from the crowds showed me just how relevant it is today. It resonates with people for different reasons, but will always be an anthem for the disenfranchised.

MG: Have you always been a big Dylan fan?

RJ: Always. Some of my earliest musical memories are listening to some of my Dad's record collection, and Dylan featuring prominently.

MG: Your rendition stays fairly true to the original. What do you think is the secret to a strong cover?

RJ: Whenever I tackle someone else's song, I always just try to find its true meaning, what it means to me, what it makes me feel... I put all of my energy into expressing that. Whether that means changing up the song a lot, or not, depends on what's right for the song.

MG: Many publications have stated that the political song is dead. What are your thoughts on the matter? 

RJ: I don't think so. A protest song was maybe traditionally a folk or punk song in the past, but nowadays you'll find plenty of political messages throughout every genre. I think it's important for art and music to mirror or commentate on life, and if that means politics, then great.

MG: We can only assume that there was a political drive behind your choice of song...

RJ: Initially no, but the timing of its realise has obviously become quite relevant with everything that is happening in the world right now.

MG: Recent global events have seen several artists speak out politically. Do you feel that as an artist you can help implement a change?

RJ: Historically, music and musicians have had a role to play in energising people to stand up for what they believe in. I don't want to force my views on people, but I strongly believe in speaking out when you see wrong.

MG: The song is a cover, when it comes to your own compositions for the new album are you equally forthright?

RJ: Sometimes, yeah. There has been a lot to write about over the last year, both personally and through world events, so it has inevitably found its way into some of my new songs.

MG: What else can we expect from you in 2017?

RJ: There will be a couple of singles coming in the spring/summer, and
then an album in the autumn. And lots of touring!

MG: Lastly, you have toured as a musician with an array of artists. Who do you still dream of working with?

RJ: Springsteen is a hero of mine, so he is high on the list. Outside of that, the list is long!

*** 

You can keep up to date with RJ Thompson via his website, where you can find further information about upcoming tour dates and future releases.