Nineteen Forty-Seven Until Two Thousand And Sixteen

Another planet holds you now.

I bet you've already changed the way they dress, the way they feel and the way they view the world. 

On behalf of a generation, we weren't worthy but we're grateful. 

This is for you.

////

Pull the blinds down on your eyes 

Block out what you see

When you see the light

You'll see you were standing next to me

Staring at your reflection

In a revolving door

You changed our view on reality 

And showed us what to look for

Fantasy or illusion?

The results of a drugged up dream

You were the proof

That life is not what it seems 

A thunder storm of emotion 

Always thinking, never sure 

The lyrical ramblings of a mad man

Preaching philosophy found on the floor 

Pull the blinds down on your eyes 

Block out what you see

You never found the light 

But thank you, David Bowie

"I don't know where I'm going from here, but I promise it won't be boring" DB 

////

HepkattFM 

Spotlight on: Mikey Shyne

Prepare yourself.

I was recently contacted by a man named Mikey Shyne and I'm not speaking out of turn when I say I can't wait for this guys memoirs. 

Throw what ever you want at him, kick him from his home, drive him to the lowest depths with addictions and one thing will become very, very clear. Mikey will not be stopped. 

I caught up with Mikey over email and below he gives us a insight in to his journey. 

Who is Mikey Shyne?  

Mikey Shyne is a Pop artist from Queens, NYC.  I'm a product of hopelessness, desperation and perseverance. I have turned a nearly non-existent dream into something remarkable.  

My hard work, dedication and learning to never give up on a dream have allowed me the opportunity to generate a huge local buzz that is slowly spreading globally.  

How did you get started in Music? 

I have been singing my whole life.  I remember my younger years where I would put on concerts for family members with my grandmothers vacuum cleaner set up center stage as a mock microphone.  I sang with church choirs, local theater groups and sang the national anthem for the New York Mets when I was 10 years old. Music is in my veins.  Its the heartbeat of my soul.

I took nearly decades hiatus of actually pursuing music because of family disapproval but never stopped singing and writing on my own.  

There were a few sparks to the fire that is Mikey Shyne.  The first is meeting Eric Anzalone, the Biker from the Village People.  I was doing a stint in rehab up for substance addiction where Eric was shooting a documentary.  I was asked to sing a solo for the documentary and absolutely nailed it.  Pitch perfect.  Eric became a very early mentor for me and an inspiration.  If he could do it, then I could do it.  

After rehab, my recovery progressed and I still continued and write on my own, but I still only had that glimmer of a dream. 

It wasn't until I hit a personal rock bottom in January 2015 following a bad breakup where something snapped inside of me.  I locked myself in my room for two weeks and made the DECISION that I would no longer waste my talent.  I wrote and wrote.  "Set Me Free" was born.  I recorded "Set Me Free", my first professionally recorded, mixed and mastered track and released it on Soundcloud.  BAM!  It became an overnight sensation and Mikey Shyne was officially born.  From that point on I said hey, maybe I really could do this.

I rebuilt my relationship with friend and manager DJ Manny Flyiso who introduced me to DJ Tomekk who introduced me to Kurtis Blow.  Tomekk and Blow are legends that told me they saw something in me remarkable.  Kurtis came out to my first live show and INTRODUCED me to the crowd.  I killed it that night and won the showcase.  I was addicted. 

Now, I treat this as a career.  Making it in the industry is really a full time job but I love every minute of it.

What kept you going through the addictions and homelessness? 

Man, its always hard to talk about my dark days but talking about it and keeping it up front keeps me from ever wanting to return to that lifestyle again.  

The specifics of my substance abuse don't matter but living with the disease of addiction, depression and anxiety make even the smallest tasks seem impossible.  Addicts are great at making mountains out of molehills.

Being kicked out of my families home, in the grip of a nasty addiction and having to sleep in the lobbies of hospitals, subways, buses and friends couches was a horrible way of life.  People were dying left and right around me of overdoses and felt it was only a matter of time where my own card would be pulled.  

But what really kept me going was a glimmer of hope that one day, I'd be on a stage in front of people.  Feeling the moment.  Feeling the love.  Feeling free.  I never gave up on the dream and I thank God for blessing me with this talent because if it wasn't for the talent I would feel no purpose in life.

Growing up, who were your biggest influences? 

Believe it or not I LOVED doowop and golden oldies in my early years.  Billy Joel, Michael Jackson, Eminem and Justin Timberlake I would say are my biggest influences.

If you could collaborate with one artist, who would it be? 

I would love to collaborate with Eminem.  I grew up on him and his recovery inspires me.  I'd also love to do a recovery track with Macklemore.

What's been the highlight of your musical career?  

Theres been so many in a short amount of time but my favorite was getting to work with DJ Tomekk on my single "Put It Down" I had a blast.  And having an international Grammy nominated artist featured on my track was so dope.

What did 2015 mean to you and what does 2016 hold?  

2015 was like my indoctrination into the business.  Its not just write songs and perform them on a stage.  Its a daily grind to be noticed, get plays, get views, collect fans, beg bloggers to get me on their site, sell tickets, etc. 

I have built a foundation for myself so for 2016 I am looking to level up and start earning income.

////

I can hand on heart say I want to see Mikey achieve what he wants. Mental illness and addiction are crippling people daily and Mikey is the perfect example of how these things are not a life sentence, they are only with you until you beat them and boy, has Mikey beaten them.

You can find more about Mikey at:

www.mikeyshyne.com

www.reverbnation.com/mikeyshyne

Twitter/IG: @MikeyShyneMusic

I hope you will all join me in giving Mikey what he really deserves. A chance. You can be sure he will not pass it up.

////

HepkattFM

Roll tape...

A movie can be made or failed on a soundtrack.

It can either be the perfect accompaniment to that heart wrenching scene (You know, the sort of song you play in your head as you stare out of the bus on a rainy day pretending you're in a movie montage. We've all done it) or it can be an annoying inconvenience. Like that one person on the back of a bus playing Kesha out loud on his phone. We get it, you've got a Sony Ericsson, kid. 

Many movies have their music composed especially for the piece but we are going to leave those to one side, metaphorically of course, nobody puts Hans Zimmer in a corner. Instead, we are going to be focusing on those that have taken songs already in circulation and tried to bend them to fit their own narrative. 

So I present to you the good, the bad and the down right offensive movie soundtracks.

The Good. 

High Fidelity

John Cusack and Jack Black star in this film entirely about vinyl and a failing record store. Well. There is some love story in there but I concentrate on the bits I find important. It's based on the book of the same name by Nick Hornby which is well worth a read. It features some great songs but crucially they fit the bill for what the movie is about. Songs by Elvis Costello, The Beta Band, The Kinks, Bob Dylan and Stevie Wonder all help this film to progress. And that is what a good soundtrack should do. 

It should drive the film forward, slow it down at the right time and bring it to a big finish. Kind of like the perfect mixtape. (Inside reference for all those who have seen High Fidelity)

Special Mention - Death Proof - This falls under the category of a good soundtrack, bad film. If only for the scene which is accompanied by The Coasters, Down In Mexico. 

The Bad.

Wild Wild West

Rule number one. DO NOT LET THE LEAD ACTOR SING THE TITLE MOVIE TRACK. When Will Smith released both film and song at the same time it just didn't work. It was as if the Fresh Prince of Bel Air was performing in a talent show, threw on some cheap white suit and hat and pranced about the desert. Don't get me wrong, I have a friend who can do the whole rap and it's well worth a giggle. But I'm not sure that will make the producers feel all that better. 

By the way, what's Steampunk? 

The Down Right Offensive.

Spiderman (Toby Mcguire edition)

Nickleback. Yep. That happened. Actually it wasn't the whole band, just the long haired one. What? They're all long haired? Oh! Well, one of them performed with another hairy guy he found on a roof and they called it Hero. On the nose? Just a little bit. I don't think I need to say too much more about this.

////

Sure.

These aren't necessarily the best films in the world but that's not the point. The point is that the music in a film can be equally as important as the actors and plot line. 

If plot is the lead, then music is the supporting act. 

////

HepkattFM

Top Five....Gigs

I get around.

When I was a few years younger, I blew all the money I had on going to gigs and festivals. It really didn't matter all that much who I was seeing. I just wanted to be there for the experience.

I've seen bands lugging instruments out of their van into some dingy little bar that looked more like a crack den than a stage. The kind of place where you do the safety dance. You know the one. Check for your wallet, phone and keys. Wallet, phone, keys. Repeat.

I've also seen the other side. Festivals. Academies. Arenas. I have to say I don't care for the arena gigs that much. Who has air conditioning at a gig? It's practically law to leave a gig sweating and clutching for fresh air.

Now.

I'm fairly confident the bands won't remember me, but I sure remember them. In fact, I keep a list. I've stood in front of 247 different bands and artists and some of these I've seen multiple times. For instance, I've seen Ocean Colour Scene 11 times in 11 different venues with them in varying states of band members.

So I thought I would share with you what I consider to be my favourite 5 gigs. The one thing I couldn't do was set them entirely apart. So they are in no particular order.

* The Libertines - Leeds Festival.

They arrived to Vera Lynn to crown what was their first official reformation gig. They were reckless and loud and I lost both my shoes to the crowd. It was truly exceptional. I went on to see them again in London for the second reunion and whilst they were more professional, the first gig beats it. 

* Turbowolf - The Harley, Sheffield.

This was my first and only time seeing Turbowolf live and they set an example of how to play intimate gigs. The Harley was the perfect setting for their brand of high speed punk. They're also one of the nicest bands you'll meet.

* Ocean Colour Scene - The Plug, Sheffield.

This would be one of my first gigs and my first experience of not trusting the liquid that flies backwards from the front row. I was starstruck by the sounds in front of me. Steve Craddock remains one of my favourite guitarists purely based on this gig. He was large and the sound larger.

* The Civil Wars - Night and Day Cafe, Manchester.

Romantic. That's how I would explain this one. A terrific venue full of character and characters. The Americana duo held us in the palm of their hands and brought one man next to me to tears. I swear it wasn't me. 

* Ryan Adams - Sheffield City Hall 

All that was missing from this gig was a cigar and a nice glass of red. Ryan Adams took us all on a journey and made the enormous city hall feel like someones front room. At times it was a like a stand up act just broken up with the odd song. Ryan Adams doesn't come across the pond often so when he does, jump at the chance. 

There's so many more I could choose but these are those that spring to mind.Maybe sometime I'll tell you about my trip to Little Man Tate's last ever gig, watching Kasabian with the lead singer from Reverend and The Makers, watching football with Milburn or when I pissed off Alex Turner. 

Maybe next time. 

////

HepkattFM 

Music and Mental Illness

I panic at far more places than the Disco.

For the past few years, I've been living with mental illness and just trying my best to push it to one side. The one thing I learnt. That's not possible.

Finally, I surrendered, got help and started working toward managing my day to day life. I was scared at first. Lots of things had to change. I quit drinking and boy, did I drink a lot, I stopped going out as much and so lost friends but worst of all, I had to stop performing. 

I've been a drummer for the past 10 years and played in a handful of different bands. That rush before taking the stage, that relief at coming off at the end knowing you did a great job, they're feelings that just can't be recreated and it was all over. The cymbals had stopped shaking, the kit was in the van and I was all at sea.

At the same time, I realised that this was only for the best. The incredible feelings I got before playing were replaced with severe panic attacks and an overwhelming desire to just get it over with and when that happens, well, you're just not a musician anymore. I was just there to make up numbers. At least that is how I felt.

That's when Hepkatt was born. I stopped feeling sorry for myself and realised there is far more to music than just playing it. I started reading, excessively, about music theory and researching upcoming bands, venues, equipment, you name it I've been looking at it. Then I thought, why not write about this? This 'thing', this 'noise', that can bring us together and divide us all at the same time, make you feel lost and found in the same split second. 

Now.

I'm not going to go as far as to say music has saved me but it sure makes being here that so much easier. I'm excited to hear the next big thing and to find the dingiest venue that offers the best experience. It gives me desire and it gives me hope that even though I can't be doing it any more, others are and the industry is safe in the hands of every young kid who picks up an instrument. 

Music is free from all the things wrong with the world these days. We don't care about religion, politics and we're not about to go to war over who should be number 1. We're all here for the same reason. So from me to all musicians, all music lovers, writers, technicians, lighting engineers and so on and so forth, thank you. 

I'm a believer in music, fucking hallelujah.

///

HepkattFM

Suds and Songs: Lippy Kid

Up the local in the rental.

Today we look at Derbyshire based, ambient loop creator, Lippy Kid. 

First things first. Let me tell you that this isn't just music, this is theatre. Using minimal loops to create powerful melodies you're forced to visualise before you, what you hear around you.

You can't just listen to this, you have to put shape to the sound and become, well, transfixed.

You can find multiple releases by this alter ego (Think more Ziggy Stardust than Tony Clifton) but a great place to start is with Anatomical, released in 2014. Three Digit D.I.S.C.O is a mind bender. It sounds as though it is taken from the boss level of a Nintendo game fused with a cross country car trip from an indie movie and I mean this as the highest compliment, because that's what I saw. That's what this music forces you to do in a way that very few others can.

Lippy Kid isn't one to go it alone either and is always looking for collaborators. On his last project, he asked his Twitter followers to add one word to the statement 

"We Search The World To Find....". The result was, one word, stunning.

And it is for that reason, the desire to want to mix with others and make something unexpected and beautiful that I'm pairing this with a Whiskey Cocktail known as the Brain Duster.

Now.

This fits in two ways. First, Brain Dusting is honestly a great way of describing Lippy Kids' music. After a few hours of watching (remember not just music, theatre) his creation you will feel well and truly refreshed and inspired, a good old brain dusting.

The second way is that this is blend of things that shouldn't go together but hell they create something spectacular. Whiskey, Italian Vermouth and Absinthe. It's classy, goes down smooth and leaves just enough of an impression to make you question everything, and that's just Lippy Kids' music.

Minimal.

Melody.

Theatre.

This is Lippy Kid.

https://lippykid.bandcamp.com/track/three-digit-d-i-s-c-o
http://www.lippykidmusic.com/

////

HepkattFM

Suds and Songs: Milk Carton Kids

MILK CARTON KIDS AND JACK DANIELS:HONEY

Sing.

Sparrow.

Sing.

They're the words of messrs Kenneth Pattengale and Joey Ryan who form Contemporary Folk duo Milk Carton Kids.

I first heard of these guys when a friend of mine performed a cover at one of his gigs. Queue hours of You-tubing their performances and one thing became glaringly obvious. No matter the venue, no matter the size of the crowd, they always offer an intimate experience. (For the most gorgeous of performances check out the Tiny Desk Sessions courtesy of NPR)

Their stage presence is still but full of movement, very Gillian Welch and Dave Rawlings. Their most recent album, Monterrey, offers a gluttony of swaying guitar crawls and perfect harmonies. Recorded on stages of theatres throughout America, without a crowd, without the nitpicking over each bar, it makes you feel, well, human.

So what do you pair with this? 

It's cliche but the sound created does go down like Honey and leaves you burning up as you wish you were as good as them, so why not pair it with Jack Daniels with Honey.

While you sip on this, you can slip away to the ambient vibes created from songs such as Sing, Sparrow, Sing and Asheville Skies.

Wherever you are in the world, whatever music you like, you need to unwind and appreciate talent, these guys have it in abundance. 

Stop the search.

We've found the Milk Carton Kids. 

////

http://www.themilkcartonkids.com/

http://www.npr.org/event/music/156679789/the-milk-carton-kids-tiny-desk-concert

http://jackdaniels.com

////

HepkattFM

Alreet...

Nah then. 

I grew up when the boardwalk was still the place to be to see the upcoming bands in Sheffield. One of the best exports has undoubtedly been the Arctic Monkeys. They've gone from track suits to church suits but the message stays the same. 

I wrote this review at the time AM was released. 

Enjoy ah kid.

//// 

This is Chip Shops and Chardonnay; Sean Bean and Motorcycles, truly rock and roll with the lights off. AM is a long way from the Boardwalk but this still feels like a new beginning, a new twist on the Arctic trail.

Do I Wanna Know sets the scene as it seduces you with it's swaying riff and electronic drum heartbeat. It feels like a your listening to a Turner monologue whilst star gazing through an electric guitar. If this sets you up then R U MINE? knocks you out.

From the moment it kicks in you're hooked. The lyrics are both brilliant and brave as it feels set in reverse " I'm a puppet on a string, Tracey Island: Lone ranger riding". If a song had a dress sense R U MINE is in leather and shades and not taking them off to go indoors. Helders screeches in the background, linking with Turner as they quip "oh ahh" in the middle of a blatant rock song.

This slinks into One For The Road where the whole thing feels like you're watching Turner put the moves on a dame in a Jazz Club; the music is splashy and the drinks are free. The whole feel of the album is progression, you know there are songs waiting in the wings that didn't make the first team like "you're so dark" which could have easily made the cut but the balance feels right.

This is shown perfectly by the next track on the album Arabella. The start of this track is pure rock in its most subtle and yet glaringly obvious form. The way the drums are simple and yet pierce through, the guitar that skittles across the track, tip-toeing to the chorus where you are slapped in the face with the cosmic call of Sabbath style riffing. This is supposedly based on Turners girlfriend and what wouldn't be to like about a girl with Gator skin boots who smokes organic cigarettes.

Whilst this album is about growth (the only thing that has moved back is each members hair with the help of a tub of hair gel) they also point to their influences and give them a tip of the hat. Mad Sounds, a song that sounds straight out of Costellos back catalogue, (possibly because his own drummer Pete Thomas is on this one) is taken from early Arctics producer Alan Smyths original song. Then there is the much more on the nose use of I Wanna Be Yours plucked from John Cooper Clarke. This gives the record a route home from the States with lines such as "I wanna be your leccy meter, that you get cold without".

The Sheffield group were given plenty of help from friends old and new with people like Bill Ryder-Jones (ex-Coral) creating the melancholy solo in Fireside,which is backed by the 70's style backing of "shoo op, shoo op". Josh Homme a familiar face to these now belts out of 30 seconds of high pitched melody in Knee Socks and lends his voice to One for the Road.

The first single released from this album that set everyone up to AM was the R&B influenced Why Do You Only Call Me When You're High? Turner strolls though this like a trip down memory lane and the groove of the track simply chases him with Helders cracking backing in tow.

The record is kept moving throughout with tracks like I Want It all which features rising guitar only topped by the height of the vocals. No 1 Party Anthem in which you hear Turner talking about parties previous " Sunglasses in doors, par for the course" and Snap Out Of It which feels ultimately like a song from the back end of the 60's. 

This is still Rock and Roll but written by Dr Dre on the wall of the Leadmills bathroom. This record is a cosmic shot of adrenaline to those who had fallen out of love with the Arctics. Put on your leathers, turn off the lights, hold on and ride the AM Helter Skelter.

////

HepkattFM

Suds and Songs: Turbowolf

TURBOWOLF - BREWDOG

Music.

Alcohol.

Fewer things go as well together as the above. Whether you're in a dingy working mens club ordering pints of warm John Smiths waiting for the out of tune, out of time support act to finish or simply spinning vinyl at home with a choice tipple, it works.

In a new regular spot, I'm going to give you my thoughts on what goes well together.

First up is one of my favourite bands of 2015, Turbowolf. The first thing you notice from this Bristol based band is that their energy isn't just limited to the stage. Their records are just as lively and full of punch as their live offering.

I was able to catch them earlier in the year at The Harley, Sheffield (I spent most of my university life in this place and it's still one of my favourite haunts. Well worth a visit if you've never been) and saw first hand just how their brand of punk rock can grab you by the arm and drag you through a full throttle trip of psychedelia and moustaches.

I'm pairing this with Nanny State from Brewdog. The more experienced drinker among you will notice straight away this is non-alcoholic. The fact is, I quit drinking 6 months ago after a rather life changing experience but I've done my time drowning barrels. 

Not drinking is hard and I sure miss the sweet nectar now and then again and this is why I'm grateful to Brewdog. They have actually produced a non-alcoholic drink worth it's salt. It's a true punk drink for a true punk rock band.

So for you to truly relax and enjoy the album above (Turbowolf - Two Hands) with a beer, pick up one of the first ever Brewdog beers and enjoy a pint of Punk IPA. Once you've got the taste you can head over to Brewdog in Sheffield and experience this straight from the tap.

////

https://www.brewdog.com/bars/uk/sheffield

http://www.theharley.co.uk/

http://turbowolf.co.uk/

////

HepkattFM

Whiplash: In review

2015 has produced some exceptional films and Whiplash was one of my absolute favourites. I wrote the following review after experiencing the wild ride this jazz film offers up.

////

One. Two. Three. Four. One. Two. Three. STOP. That's not my tempo. Relax. Im not going to throw a cymbal at you and you're probably not a jazz musician, but that doesn't matter. Whiplash is foot stomping, head rattling, breath stealing, beauty and tragedy all crammed into a jazz measure. Everybody on point? And...

The brass screams, the drums drop in and Whiplash is in full flow. As subtly as big band leader and music teacher Terence Fletcher (J K Simmons) lightly flicks his finger to strike the band, this film begins to play you. You follow 19 year old music student Andrew Neiman (Miles Teller) as he pushes his limits to be the next best Jazz drummer. You’re hanging on every beat, every fill, every crash of the cymbal, probably learning something as you desperately try to discover whether you're in time.

J K Simmons offers an intense, raucous, raging kind of performance. Beautiful yet tragic. Every bit the horrible teacher we all had but without the human nature to hold back mentally or physically, evidenced by launching a cymbal at Andrew after he drops out of time briefly a la Charlie Parker.  Fletcher has a reputation as the man who creates class from mediocrity and wins every competition he enters but you close those doors, confine him to a classroom, a stage, a rehearsal room with just a bunch of instruments and those things that work them and he will take whatever self confidence you have left and devour it. He sees nothing wrong in what he does, the fear, the intimidation, he knows what he is doing and believes that this is the only way to bring out the best in someone. He will break the spirit of everyone near him if it will find him the next Buddy Rich “I was there to push people beyond what's expected of them. I believe that's an absolute necessity”.

Young Andrew is transfixed by Fletcher and continually seeks his approval, climbing out of a car accident to ensure his position in the band, flesh wounds and all. Then again, after being forced to practise until his hands bleed this was probably just another day in the office for the aspiring jazz-oid. Miles Teller runs the rule over his character and you can see a true determination to succeed but what is his ultimate goal? Make a life and a career out of music? (If not, leaving his girlfriend wasn’t the smoothest of moves you’d expect from a Jazz Kat) Or simply to impress Fletcher. Whatever the answer, Fletcher inspires a new drive for Andrew and he doesn’t hold back from his family when it comes to his future “I'd rather die drunk, broke at 34 and have people at a dinner table talk about me than live to be rich and sober at 90 and nobody remembered who I was.”

This film is a symphony and whilst you’re watching you feel like the conductor. You stretch forward in anticipation as the film lifts and slump back as it softens, jump up in excitement and gasp at what you’ve created. Triumphant. But there’s more to it than just stellar acting performances, this is a throwback to a genre of music that the modern generation has long turned it’s back on, so maybe we deserve to have Jo Jackson throw a cymbal at us to kick us in to gear eh. Most of all remember the words of Fletcher, “There are no two words in the English language more harmful than ‘good job’”. Lights fade..applause...you’ve made it...now get off my stage.

////

HepkattFM