Tag: BRIT School

Earlier this year, i wrote about the up-and-coming Bristol, UK-based singer/songwriter and guitarist Katey Brooks, and as you may recall, with the release of 2016’s I Fought Lovers EP, Brooks quickly earned a national and international profile for a sound and songwriting approach that has been compared favorably to the likes of Jeff Buckley. In fact, material off the EP received enthusiastic airplay on  BBC Radio 2, BBC Radio 6 and  the CBC, and praise from Billboard, Pride and The Advocate. Adding to a growing profile, Brooks has shared bills with an eclectic yet impressive list of artists that includes Newton Faulkner, Ghostpoet, Martin Simpson, Deaf Havana, Lamb‘s Lou Rhodes, Mike and the Mechanics, and Mystery Jets, and has played at some of the world’s biggest festivals including Glastonbury, WOMAD, the 2012 Paralympics and Australia’s National Folk Festival. She also has appeared on a compilation with Anais Mitchell, Ane Brun and Marissa Nadler and recorded a track with The Rolling Stones’ Bill Wyman and Paloma Faith

Interestingly, Brooks has a complicated and messy upbringing. She grew up in a cult, and as a child, she found refuge in music.“It was a very chaotic upbringing, full of some pretty colourful and sometimes unsavoury, characters. But when I sang, I felt free and connected. For as long as I can remember, it’s been my way of getting what I need to say out,” she reveals in press notes. She began singing gospel, old spirituals and the songs from the likes of John Lennon and Elvis Presley — but by the time she was a teenager, she entertained her peers with soul renditions.

When she turned 16, the Bristol-based singer/songwriter turned down a spot at the renowned BRIT School. “It would be interesting to know what would have happened if I had gone there, but I try not to dwell on that,”Brooks says in press notes. “I always think that you’re where you’re meant to be. And if I had gone, I probably would have ended up writing slightly less authentically to myself. But who knows, because if all the things that have happened in my life nevertheless happened, maybe I still would have written the way I do.”

When Brooks turned 20, she became extremely ill and her life was on pause as she was convalescing; but as she was convalescing she joined a songwriters group led by her friend, Strangelove’s Patrick Duff. “We would get together and play our songs to each other. It was really therapeutic.” Around this time Brooks was convinced that she had to devote her time to music. “So one day I just put on my own gig at the (Bristol) Folk House,” she laughs. “I sort of became an artist and promoter overnight,” Brooks recalls.

Sadly, shortly after making the decision to focus on her music, the Bristol-based singer/songwriter experienced a turbulent period of heartbreak and tragedy: the year she turned 22, her mother became ill and died — and shortly after that, one of her best friends went missing and died. “That’s definitely had an effect on the course of my life, and my writing,” Brooks says in press notes. “People have come up to me after gigs, particularly after songs I wrote during that time, saying ‘there’s a lot of sadness in your songs’ and it’s like ‘well, yeah.’ But I guess I’m lucky that I have songs that I can write, as a means to deal with things.”

Along with those hardships, Brooks has struggled to come to terms with her own sexuality. “In my most recent work I’ve finally been able to sing directly about women instead of using the mysterious ‘you,’” Brooks mentions in press notes. “I’m a private person in a lot of ways and I never wanted to be a poster girl for anything. But a few years ago I just thought screw it; I want to sing completely honestly. It felt like a weight lifted.”

Brooks latest single is the classic soul-inspired ballad “All of Me.” Centered around a spectral arrangement featuring a looping 12 blues guitar, a gospel-like backing vocal section, a two-step inducing rhythm section and Brooks achingly plaintive and soulful vocals, the new single will further establish the Bristol-based singer/songwriter and guitarist’s ability to mesh craft, earnestness and ambitious songwriting in a thoughtful and natural fashion. But along with that much of Brooks’ material comes from real, lived-in places — in particular, the song’s narrator bitterly calls out a lover on their ambivalence. It was inspired by a personal situation with someone I was prepared to give my world to. They proclaimed deep love, but then proceeded to behave in ways that were completely incongruent with that proclamation”, revealsBrooks. Words can be very powerful and beautiful, but ultimately, when it comes to showing someone you love them, they’re cheap and easy to deliver. Actions tell us everything we need to know about how someone feels about us, and if they respect us – in every kind of relationship.” 

 

 

 


Earlier this week, I wrote about Sammy Jay, who’s a Southern Wales-born Los Angeles-based, Mercury Prize-nominated electronic music producer, best known as SJae (pronounced Ess Jay). Now, as you may recall, the Welsh-born producer is a graduate of the BRIT School and upon graduation, Def Jam Records gave her first professional production gig on Terri Walker‘s Untitled album. Since then, the Welsh-born, Los Angeles-based electronic music producer has become of the first female music producers from the UK to have been hailed Stateside as one of the best in the best in the business by many of her peers, including some of the world’s superstar producers; in fact, during the course of her 20 year career, she has collaborated with the likes of The Roots, Ricki-Lee, Booty Luv, Terri Walker, Mis-teeq, Mark Morrison, The Pussycat Dolls, EXO, Rod Stewart and others.  She has composed music for a number of TV shows, including MTV’s Ridiculous, FOX’s Lethal Weapon and Netflix’s After Party starring KYLE and French Montana, and she has had had her own material appear on Fox’s Empire, CBS’ Flashpoint and others, as well in promos for FOX Sports, the NBA and Reelz TV. She is also currently the executive producer for Howling Music, Nashville working on music for the global ad campaigns for Hyundai and Ford. And before I forget, she also has produced logo music for a number of top radio stations including RTL, Bayern 3 and 94.7FMThe Wave.

Throughout her career, Sammy Jay has been an ardent proponent and prominent representative for women producers. Interestingly, her debut EP FIRST is slated for a March 22, 2019 release and the EP is intended as the beginning of a series of EPs that will feature collaborations with acclaimed songwriters, producers and EDM artists — with FIRST featuring guest spots from Raphael Saadiq, Sam Sparro and Dria Thornton. “The purpose of my project is to show woman can produce records, create more content and more visibility for us, so we can encourage other women to enter into the field,” Sammy Jay says of her EP series. “There are very few female record producers out there; in fact , I just gave an interview for a USC study funded by Spotify about why there are so few female producers in the industry. I believe we are haven’t been encouraged to be technical within the creative industry. The assumption is that women exist only as performers, singers and songwriters, the introduction of a women who produces music, ‘makes beats’ etc is met with surprise and a sometimes not so subtle air of disbelief, followed by much questioning on tech – ‘What software do you use?’ “Do you really know how to mix a really fat kick drum?’ etc.”

She continues, “I believe that if you don’t see yourself represented out there in the public media, you internalize the idea that you don’t belong there, or that there is no opportunity for you in that arena. I want to change that.”

The Avenue,” the EP’s first single was built around a soulful guest spot from Sam Sparro and a slick, 80s synth funk-inspired production centered around a sinuous bass line, shimmering synths, thumping beats and a razor sharp hook. And while sonically, indebted to “Ain’t Nobody” and I Feel For You-era Chaka Khan and Quiet Storm-era soul, the song manages to feel like a subtly contemporary and self-assured take on a familiar and beloved sound. “All I Think About” the EP’s second and latest single is a sensual, 90s house music-inspired track centered around a slick production featuring lush layers of shimmering and arpeggiated synths, tweeter and woofer rocking beats, a sinuous hook and vocals by the imitable Raphael Saadiq. And while club friendly, SJae’s latest track reveals an incredibly dexterous producer, who can effortlessly bounce back and forth between several different genres with a self-assured touch.

Sammy Jay is a Southern Wales-born, Los Angeles-based, Mercury Prize-nominated electronic music producer, best known as SJae (pronounced Ess Jay). The Welsh-born producer is a graduate of the BRIT School and upon graduation, Def Jam Records gave her first professional production gig on Terri Walker‘s Untitled album. Since then, the Welsh-born, Los Angeles-based electronic music producer has become of the first female music producers from the UK to have been hailed Stateside as one of the best in the best in the business by many of her peers, including some of the world’s superstar producers; in fact, during the course of her 20 year career, she has collaborated with the likes of The Roots, Ricki-Lee, Booty Luv, Terri Walker, Mis-teeq, Mark Morrison, The Pussycat Dolls, EXO, Rod Stewart and others.  She has composed music for a number of TV shows, including MTV’s Ridiculous, FOX’s Lethal Weapon and Netflix’s After Party starring KYLE and French Montana, and she has had had her own material appear on Fox’s Empire, CBS’ Flashpoint and others, as well in promos for FOX Sports, the NBA and Reelz TV. She is also currently the executive producer for Howling Music, Nashville working on music for the global ad campaigns for Hyundai and Ford. And before I forget, she also has produced logo music for a number of top radio stations including RTL, Bayern 3 and 94.7FMThe Wave.

Throughout her career, Sammy Jay has been an ardent proponent and prominent representative for women producers — and her debut EP FIRST is slated for a March 22, 2019 release. Intended as the beginning of a series of EPs that include collaborations with acclaimed songwriters, producers and EDM artists, the Welsh-born, Los Angeles-based producer’s debut EP will feature guest spots by Raphael Saadiq, Sam Sparro and Dria Thornton. “The purpose of my project is to show woman can produce records, create more content and more visibility for us, so we can encourage other women to enter into the field,” Sammy Jay says of her EP series. “There are very few female record producers out there; in fact , I just gave an interview for a USC study funded by Spotify about why there are so few female producers in the industry. I believe we are haven’t been encouraged to be technical within the creative industry. The assumption is that women exist only as performers, singers and songwriters, the introduction of a women who produces music, ‘makes beats’ etc is met with surprise and a sometimes not so subtle air of disbelief, followed by much questioning on tech – ‘What software do you use?’ “Do you really know how to mix a really fat kick drum?’ etc.”

She continues, “I believe that if you don’t see yourself represented out there in the public media, you internalize the idea that you don’t belong there, or that there is no opportunity for you in that arena. I want to change that.”
FIRST‘s latest single “The Avenue” features a soulful guest spot from Sam Sparro, built upon by a slick, 80s synth funk-inspired production centered around a sinuous bass line, shimmering synths, thumping beats and a razor sharp hook. And while sonically, indebted to “Ain’t Nobody” and I Feel For You-era Chaka Khan and Quiet Storm-era soul, the song manages to feel like a subtly contemporary and self-assured take on a familiar and beloved sound.

With the release of 2016’s I Fought Lovers EP, the up-and-coming, Bristol, UK-based singer/songwriter and guitarist Katey Brooks quickly amassed both a national and international profile for a sound and songwriting approach that has been compared to Jeff Buckley with material off her debut EP receiving enthusiastic airplay on BBC Radio 2, BBC Radio 6 and  the CBC, as well as praise from Billboard, Pride and The Advocate. Adding to a growing profile, Brooks has shared bills with an eclectic yet impressive list of artists that includes Newton Faulkner, Ghostpoet, Martin Simpson, Deaf Havana, Lamb‘s Lou Rhodes, Mike and the Mechanics, and Mystery Jets, and has played at some of the world’s biggest festivals including Glastonbury, WOMAD, the 2012 Paralympics and Australia’s National Folk Festival. She also has appeared on a compilation with Anais Mitchell, Ane Brun and Marissa Nadler and recorded a track with The Rolling StonesBill Wyman and Paloma Faith. Along with that Joss Stone and renowned recording engineer Stuart Bruce have considered themselves fans.

Brooks grew up inside a cult, and as child, she found refuge in music. “It was a very chaotic upbringing, full of some pretty colourful and sometimes unsavoury, characters. But when I sang, I felt free and connected. For as long as I can remember, it’s been my way of getting what I need to say out,” she reveals in press notes. She began singing gospel, old spirituals and the songs from the likes of John Lennon and Elvis Presley — but by the time sh was a teenager, she entertained her peers with soul renditions.

Interestingly, when she was 16, she turned down a spot at the renowned BRIT School. “It would be interesting to know what would have happened if I had gone there, but I try not to dwell on that,” the Bristol-based singer/songwriter and guitarist says in press notes. “I always think that you’re where you’re meant to be. And if I had gone, I probably would have ended up writing slightly less authentically to myself. But who knows, because if all the things that have happened in my life nevertheless happened, maybe I still would have written the way I do.”

When Brooks turned 20, she became extremely ill and her life was on pause as she was convalescing; but as she was convalescing she joined a songwriters group led by her friend, Strangelove‘s Patrick Duff. “We would get together and play our songs to each other. It was really therapeutic.” Around this time Brooks was convinced that she had to devote her time to music. “So one day I just put on my own gig at the (Bristol) Folk House,” she laughs. “I sort of became an artist and promoter overnight,” Brooks recalls.

Sadly, shortly after making the decision to focus on her music, the Bristol-based singer/songwriter experienced a turbulent period of heartbreak and tragedy: the year she turned 22, her mother became ill and died — and shortly after that, one of her best friends went missing and died. “That’s definitely had an effect on the course of my life, and my writing,” Brooks says in press notes. “People have come up to me after gigs, particularly after songs I wrote during that time, saying /there’s a lot of sadness in your songs’ and it’s like ‘well, yeah.’ But I guess I’m lucky that I have songs that I can write, as a means to deal with things.”

Along with those hardships, Brooks has struggled to come to terms with her own sexuality. “In my most recent work I’ve finally been able to sing directly about women instead of using the mysterious ‘you,'” Brooks mentions in press notes. “I’m a private person in a lot of ways and I never wanted to be a poster girl for anything. But a few years ago I just thought screw it; I want to sing completely honestly. It felt like a weight lifted.”

Brooks’ latest single is the soulful “Never Gonna Let Her Go.” Centered around an almost gospel-like backing vocals, Brooks effortlessly soulful vocal performance and an atmospheric arrangement of a looping 12 bar blues guitar and a propulsive rhythm section, the song nods at classic soul and The VeilsThe Pearl” as it’s a thoughtful mesh of craft, earnestness and ambitious songwriting. But at its core the song is an uplifting and powerful plea to the listener that being your true self is a revolutionary act. “We’re all going to walk this planet with different scripts in our heads, different upbringings, experiences and beliefs, and if we want to get along and be peaceful we need to accept that. Hate isn’t the answer in any situation – so I believe anyway,” Brooks said. She adds, “Judge me for my true failings, ask me to change those things that actually effect you, and I’ll hear that. But one thing I’ll never change, and one thing that is definitely not wrong with me, is my love for women”.

New Video: The 80s MTV-Inspired Visuals and Sounds of Rudie Edwards’ “Lover Like You”

Rudie Edwards is an up-and-coming Dover, UK-born, Kent, UK-based singer/songwriter and producer, who has been influenced by a wide range of music including disco, Joy Division, gospel, Ray Charles and others. And like a lot of musically obsessed kids, living in small towns, Edwards realized that she had to leave her small town to make something of herself. “I knew I had to move out of there,” Edwards says in press notes. “Music was the easiest way for me to escape. My sisters and I were the only mixed race kids at school. It’s a beautiful place, but i knew it wasn’t where i was going to be spend the rest of my life. I was bursting at the seams. I needed more. I wanted more. I was longing for the stage. I had to get to London.”

Edwards eventually relocated to London, where she attended the renowned BRIT School, the alma mater of Adele, Amy Winehouse, Imogen Heap and others. By 2012, Edwards’ music career had started in earnest as she was splitting her time between Los Angeles and London, writing for CeeLo Green, Erik Hassle, Beatrice Eli and others. And with her later single “Lover Like You,” Edwards reveals that as a solo artist, her material is fueled by a sensual, bold confidence and a sassiness that’s reminiscent of I Feel For You-era Chaka Khan while simultaneously drawing from 80s synth pop, disco, soul and contemporary synth pop in a similar fashion to Escort’s Adeline Michele. Sonically the song reveals a slick and seductive production featuring layers of arpeggio synths, electronic bleeps and bloops, a sinuous bass line, a blistering 80s guitar solo, stomping beats and a rousingly anthemic hook to give it all a shimmering, club rocking feel. And in some way, the song sounds as though it’s the sort of song you’d expect people to shout along with lustily at the club as soon as they hear it.

The recently released video manages to visually draw from 80s synth pop and pop videos while being shot through a slightly faded VHS meets Instagram filter with a fittingly coquettish, fun-loving air.

Rudie Edwards is an up-and-coming Dover, UK-born, Kent, UK-based singer/songwriter and producer, who has been influenced by a wide range of music including disco, Joy Division, gospel, Ray Charles and others. And although Edwards became obsessed with making music, she recognized that she had to move out of Dover. “It’s a very small town,” the up-and-coming British singer/songwriter and producer says in press notes. “I knew I had to move out of there. Music was the easiest way for me to escape. My sisters and I were the only mixed race kids at school. It’s a beautiful place, but i knew it wasn’t where i was going to be spend the rest of my life. i was bursting at the seams. I needed more. I wanted more. I was longing for the stage. I had to get to London.”

Edwards eventually relocated to London, where she attended the renowned BRIT School, the alma mater of Adele, Amy Winehouse, Imogen Heap and others. By 2012, Edwards’ music career had started in earnest as she was splitting her time between Los Angeles and London, writing for CeeLo Green, Erik Hassle, Beatrice Eli and others. And with her later single “Lover Like You,” Edwards reveals that as a solo artist, her material is fueled by a sensual, hold nothing back confidence and a sassiness that’s reminiscent of I Feel For You-era Chaka Khan while simultaneously  drawing from 80s synth pop, disco, soul and contemporary synth pop — and in a way that’s reminiscent of Escort‘s Adeline Michele. More important, the song is a slickly produced and seductive, club banger featuring layers of arpeggio synths, electronic bleeps and bloops, an 80s-like guitar solo, stomping beats and an infectiously  anthemic hook; it’s the sort of song you’d fully expect to lustily shout along with at the club around 2am.