edible007_artworkMelé
Scouse Afrika / Sleepless
Edible Music

Yet more marvellous music from the Edible camp. Hard to neatly categorise as ever – good! – yet so obviously producing dancefloor damage in their wake are these latest from Melé. The geographical giveaway is located via Scouse Afrika which blends fiery percussion together with classically camp vocal hits and all hell is let loose. Sleepless, follows with an oddball fusion of punchy rhythms, insistent voices and pulverising attitude. All of which provides seriously compelling listening plus dancing, of course.

Release: December 9

https://www.facebook.com/MeleUK
https://www.facebook.com/TheEdibleRecords

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horsesStranger Than Horses
Horses Do It Better EP
Lagoon Recordings

Melbourne’s brand new label swims against the tide excitedly teasing out the nuances across two feverish tracks. The sleazy vocal intonations of Walking In Harlem drift over low-slung rhythms while creating a shifting, unsuspecting landscape of music that proves to be effortlessly cool – i.e. check the bassline. But next up is the glorious, Peach Beach Disco. A riotous, wonky Hi-Nrg rework if ever there was one. Kind of Moroder meets Cowley over contemporary beats etc. Or to put it another way it’s the sort of track to make your brain explode, in a nice way!

Release: January 6 2017
http://lagoonrec.com

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mmm02a_bside-3Last Waltz
Tunnel Snakes
Me Me Me

Man Power’s brilliantly titled Me Me Me imprint gets geared up with release number two and not surprisingly it’s also a killer. The trio that is Last Waltz open with the title tracks simmering, shimmering Acid infused workout that is tastefully funky, yet dark edged and temptingly heavy. Red Axes & Naduve deliver a fearless re-interpretation that isn’t afraid to take chances while sounding all the more impressive for it too. It’s a soundclash of ideas that lands somewhere between nirvana and a particularly strange, late-night funky jam. Next original is Y’ave Changed which again feeds the strange with unsuspecting sounds that, in this case, touch on Disco yet are so far removed from it. And then finally there is Itchy, a much more traditional House/ Electronic track in comparison complete with first-rate chugging bassline, offset by weird atmospherics along with an abundance of creative juices in flow.

Release: December 12
buy https://lnk.to/MEMEME02

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Mitch Alexander: microCastle Q&A

microcastle_logoWelcome to Magazine Sixty and thanks for taking the time to do this. I wanted to start by asking where the name micoCastle came from? And also about the striking Art featured on your releases?

Hi Greg, thanks for having me, and thanks for the great things you’ve written about our releases of late, much appreciated! The name… Well this is a little known fact and quite odd, but it came from a fascination with aquarium ornaments, the little castles you would see half buried in the sand at the bottom, we would always refer to those as microcastles and I always thought it was just a cool sounding name that didn’t exist. Starting a new label was something I had been thinking about for a while, probably around 2007 and that’s when I decided on the name, even though the label didn’t have its first release until 2009.

The artwork can be and usually is an arduous process, whether it be looking for the right illustrator for a certain project or more recently, finding just the right image and then treating it in the right way. On ‘Climb to the Sun’ for example I probably spent two months, almost every day, searching for just the right image to capture what is locked inside that record. The artwork doesn’t always have to relate to the music in a very direct way but in that case, with Haptic’s vocal and the vibe of the track I feel like it did. When it works out well then you feel great about it, I think we got it right on that one.

Your most recent releases from Cornucopia and Third Son are both soulful and electronically charged. What attributes do you look for when signing music to micoCastle?

That’s tough to answer… My musical interests are very broad so I do feel a wide range of music works on the label. In the case of both of those projects it was definitely about looking for a certain emotion and ‘Pursuit of the Orange Butterfly’ and ‘Climb to the Sun’ definitely resonated with me on that level even though stylistically the tracks were quite different. It’s a very difficult thing to find, so not every release works out that way.

The label stands on its own in terms of the different styles you are prepared to release, while a lot of other labels tend to stick to the one sound to define them. Is this an extension of your own personal tastes and how important are the nuances for you?

Ah yes, as I mentioned just now, my interests are broad so that does show in the labels releases sometimes I guess, and I feel the need to be doing something different for whatever reason as well. I’m not exactly sure what it is, but I just don’t have the same level of satisfaction simply locking in on one sound and doing it release after release. It’s seems to be the norm these days, but I like the challenge of doing different things and want to explore these on mcsl. It’s probably confusing for general fans of the label but the diehards fully understand what we’re doing and I’m grateful for that.

How would you describe running a record label in today’s digital world? And what advantages/ disadvantages do you think the Internet has brought to both quality and quantity?

Hmm… Well there is certainly less to deal with than when we were pressing vinyl which I did years ago on previous labels, and will still do now on microCastle when the right project presents itself. I don’t think there is any debate that the digital age has hurt the overall quality of music being released, simply because it is so easy to just start a label and put out release after release each week. With things like Soundcloud and all social media though, it’s giving artists a chance to have their music heard, where in the past that would not have been possible, so that’s a great thing.

Who are the biggest influences on you in terms of electronic music and also from outside of it?

‘Selected Ambient Works’ Vol. 1 was huge for me along with the first two Orbital albums, Spooky, Speedy J and more, so that paved the way I guess you could say? More recently I would say I’ve been listening to the Dorisburg album, the Nonkeen album, Tim Hecker, M83, Dave DK, Kiasmos, Rival Consoles, The Field, Inventions, Mattheis, all the Hivern Disc releases, and much more.

Outside of electronic music, I would say style-wise, that Shoegaze, Post Metal, Post Rock and Psychedelic stuff are probably what I listen to the most. Going back to my childhood bands like My Bloody Valentine, early Catherine Wheel, early Spiritualized, Flying Saucer Attack, The Cure, Ride, Sonic Youth, Jesus and Mary Chain, Lush, Slowdive, Cocteau Twins and many others were big for me, and I think the hazy, organic quality of that music certainly affects what I sign to the label today on certain projects.

Influences outside of music I would say that nature and art are at the top of list. The world can be a magical place.

What is your favourite instrument? Do you own one?

There are several in our apartment but are they in use? No not really… I played drums for years in a band in high school. Aside from that, my favourite synth, which I had back when I was still writing music, would have to be the Andromeda. I loved my Virus too though.

How do you see Dance Music moving forward into the future with the prominence of festivals along with the on-line streaming of club events – might that eventually replace the experience of going out?

No, I certainly don’t think it can ever replace the experience of going out, but it is a great way for people all over the world to be more connected to what’s happening, and that’s a great thing. I spent 10 years straight DJing every weekend, and there is nothing like the vibe in a room when everything is perfect. It’s magical and it always will be, there’s no way for that to ever fully translate on-line.

What can we look forward to from micoCastle in 2017?

That’s hard to say… I have no music currently signed for 2017 which is not out of the ordinary, but there are no shortage of great demos and lots of friends are working on projects now, which I’m sure will end up on the label. You’ll likely see EPs from Brian Cid and Cornucopia, as those have been discussed, but aside from that, you’ll just have to wait and see. I’ll continue to do different things with the label and more vinyl releases as well. Thanks for having me Greg. 🙂

Label Information:
https://twitter.com/microCastle
https://soundcloud.com/microcastle/tracks  
https://www.facebook.com/microcastleofficial  
https://www.youtube.com/user/microcastlemusic  
https://www.beatport.com/label/microcastle/12970%20  

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coverPsychemagik
Ritual Chants
Eskimo Recordings

Enchanting and engaging. Both begin with an E and both suggest what’s in store from this glorious long player created by the mind that is Psychemagik. Crossing a total of three CD’s/ two Vinyl of unescapable delight this compilation spans all and sundry from the watery ambience of Man Parrish’s opening number through to the gritty funk of Pop Corn Makers ‘Nothing’. What’s also great here is that I haven’t heard of at least half of this music before. Excellent. Leaving the excitable experience to inform and ignite your listening journey. Take the sultry, slinky grooves of the excellently titled ‘Saga Of A Secluded Swamp Monster’ by G.R.C. Five for starters and then add Dionne’s timely House rhythms from ‘Come Get My Lovin’’ and you’ll get the feeling of diversity here that makes this compilation of gems so very, very appealing.

Buy link http://news.lnk.to/ritualchants

http://www.psychemagik.com
https://soundcloud.com/psychemagik
http://www.eskimorecordings.be

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pezznerPezzner
Evelyn
Subtract

Like any music it sometimes seems all the more significant when it exits outside of its given location. In this case Pezzner’s exquisitely crafted Evelyn sounds just as informed and just as impactful on or off the dancefloor. The gentle yet brilliant rush of melancholy is deftly underpinned by nervous percussion and offset by delicate piano notes. All of which are then transported through the prism of twisted vocal lines and generally oddball sounds to cumulate in an altogether more rewarding listening experience. The Redux version alters the emphasis on the drums and elements creating another first-rate piece of music. While, Dance Spirit inevitably remix with a splash of charm across sizzling, inspired electronics on their 23rd Dimension Mix. Contrasted by the DoubtingThomas Constructive Reconstruction which eases it all down to a most relaxed tempo feeling all the more delicious for it too.

Release: December 5
http://www.pezzner.com
http://www.subtractmusic.com

 

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mobilee-175_4000xCustomer
Poot
Mobilee

Since when did everything have to make sense? Reset Robot and Alan Fitzpatrick join forces to deliver this deceptively uncomplicated yet thoroughly engrossing succession of brutal beats and dark chanting voices, and yet a sense of relief is to be found in the emotive strands of synthesiser notes that enter the equation. I like that Poot allows you to create your own picture. Next, A Little Respect sees more comfortably melodic tones trip out of the stereo alongside brisk snares, vocal rushes plus expansive pads which fuel and excite your emotional sensibilities to the fullest.

Release: November 25

http://www.mobilee-records.de
https://www.facebook.com/officialalanfitzpatrick
http://reset-robot.com

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rekids_98_julz-jordan-fields_pfade_neu_digital_1D’julz vs Jordan Fields
Battle Of The Deejay’s
Rekids

The excellent Rekids again throw the rule book out with this excellent collection of four new House numbers from the two artists. The Kick drums and then the deep bass that announce the arrival of the formers Shy Town are so typically impressive that you’re immediately captured and enveloped by the tough yet inclusive sounds that hit you. Of course, this being D’julz means you also get that added extra, which in this case is delicately framed piano squeezing out the emotional pips to breaking point. The equally quality In Your Soul, follows in a deeper vein with its creative use of percussive sounds feeling even more than right. Jordan Fields then delivers two great tracks which both ignite your passion for fizzy electronics as they course through the veins of the production aided and abetted by tough beats and basslines in the shape of: Videoflash plus the delicious Acid attitude of Mformation.

Release: December 9

buy/ listen http://www.redeyerecords.co.uk/vinyl/80017-rekids098-d
https://www.facebook.com/rekids.official
https://www.facebook.com/djulz
https://www.facebook.com/jordanfieldsmusic

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Clarian Q&A

clarian_laufenderchien1Your latest single for Culprit: Derail The Reptile Revolution features five tracks.
What was the inspiration behind the title track, i.e. what does it mean?

a radiation wave hit and i got shot through a wormhole. now i’m lost in some distant part of the universe on a ship, a living ship, full of strange alien life forms. i’m being hunted by an insane military commander. doing everything i can. i’m just looking for a way home.

Can you talk us through how you produced one of the tracks from the release?

sometimes  i remember the feeling of resistance and in spite, persist the glimpse through absurdity and when my mind opens up that moment becomes the reason.

Buy http://classic.beatport.com/release/derail-the-reptile-revolution-ep/1879150

And how you approach time spent in the studio?

as the indefinite evolving occurrence of existence and events that may very well also contract in reversible succession from the future to the present to the past.

What is your favourite synthesizer? Do you own one? If so, where/ when and how did it come into your possession?

Korg Mono/Poly.  yes, lucky to say i have the privilege.

How would you describe the difference between analogue and digital? What qualities does one provide and not the other?

quality is relative and reality is an illusion.

clarOutside of electronic music who are you main influences?

henrietta swan leavitt and arthur c. clarke

How do you feel about the prominence of festivals compared with Club residencies in terms of connecting with an audience and introducing them to new sounds/ tracks?

indifferent. people make up a club and people make up a festival. humans upon humans and dominos. it’s an idea, someday in my tears, my dreams. the day goes by…

What’s your experience of A&R at Seth Troxler’s imprint Soft Touch? And what do you look for when signing a track?

not looking for things helps me be a better listener.

Do you feel that a lot of music today lacks the musicians touch when it comes to originality?

“there’s nothing new under the sun” is overrated. besides, if it wasn’t for the sun, there likely wouldn’t be anything new to begin with.

kom_356_label_a_3000px-1-770x770Can you tell us about your relationship with Kompakt Records? And about your new ANKH EP for them?

symbiotic. we share music and science fiction stories  of interest and work together to try and make it happen. also, sometimes, we have coffee and Canadian beers in Berlin and it’s a good time.

What are your plans for 2017?

keep it real.

https://www.facebook.com/ClarianNorth

https://www.facebook.com/CulpritLA

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Pauline Henry Q&A

Hi Pauline, thanks for taking time out to do this for Magazine Sixty. I wanted to begin by asking what do the words ‘Soul Music’ mean for you in 2016.

pauline-henryFeeling is the language of the Soul. I love when an Artiste have the ability to convey feelings through music, melody and words. In 2016 I find I am quite moved by Disclosure. They are extremely talented musicians. The sound of their production is quite unlike anything around. The ‘Omen” Disclosure Ft Sam Smith is very moving and soulful to me. I have noted that Disclosure only work with singers who sing from the soul, very expressed. It is my favorite Sam Smith rendition. When Disclosure collaborated with Mary J. Blige “F FOR YOU” it was apparent that these Uber Cool Cats really understood the language of Soul Music. I have a lot of admiration for their keen eye on quality Soulful productions. I would LOVE LOVE LOVE to collaborate with Disclosure. The double billing at the 02 in October with Mary J. Blige and Maxwell was phenomenal. I was in a world of Pure Soul Music and possibly the best concert I have ever seen in a long time bar Michael Jackson’s showmanship. I was left feeling truly inspired.

On a slightly different note, the “House Gospel Choir”, where Gospel Singing meets House Music.  Labrynth is not the only musical member in his family. His sister Shezar, who has also had a successful solo career, leads the band, innovatively mixing House music with quality vocals and amazing harmonies. This is as good as “Soulful Modern Music” gets. Gospel fused with uplifting energetic House tracks is VERY COOL. One of my the songs they Sing to is the outstanding House track “Follow Me – Aly us ” I get goose bumps just thinking about it. Shezar introduced me to Amede Unabona from the band, he now does back up vocals for me. He is absolutely awesome and an amazing person, and now a permanent member of my team as we also work together in other areas. The House Gospel Choir is performing at Jazz café in December 2016. Don’t miss it. ..I can’t wait!!

And how do you find working in today’s music industry and the digital age compared with when you were in The Chimes?

The technology that you got to keep up with is exasperating. It is a strain because of the speed of progress. The challenge is keeping abreast of the rapid pace. The advancements are frighteningly fast. Computer and Social media Specialists are now staples requirements for a successful music career.

In the Chimes so much more physical interactions and movement was necessary to produce a record. I spent long periods away from home, from my family and friends while working on the Chimes album, terribly lonely times I recall. I lost out on important occasions and ontact with so many of friends because of this, especially my friends America where I live for a year. Now, it is amazing to be able to communicate with Family, Friends, Fans and the Music Industry at large via all the advanced technology at our fingertips most of which is free.

chimesDigital production massively reduces the costs and time of producing music. I worked with “Stonebridge” in Sweden and “DJSpen” in USA on House mixes of “HEAVEN’ found on Disk 2. I never left London.
There is also the growth of independent music. Independent Artistes are FREE to do what they want to do, without constraints or dictates, and LIVE their lives accordingly. This is particularly important for a mature artiste like myself. I have a family now and want to perue other interests outside music. Major labels are no longer the only vehicle to get music out there. If you have a computer and know how to use Logic for example, you are effectively a producer and can sell music via online aggregators. Everything from marketing, promotion and sales can be done at the click of a button. All you need is an account. This is phenomenal freedom.

YouTube is such an amazing medium. So much information is available freely on line. Where it works for artiste, it reaches people who share the same musical interests all over the world and acts as a ‘High Visibility Calling Card” where you can promote yourself, build your fan base and following.We are so privileged to live in an ere where available where infinite amount information is available freely. We live virtually, computers run out lives, that’s leaves us open to a level of intrusion in our private lives which is a necessary evil.

chimeThere is a small percentage of People who upload other people’s work online AND make money from it. This needs to be challenged so that the benefits go the right people who have created it, invested time and money in producing it. Much scrutiny and specialist knowledge is needed to safe guards your music in the digital era, because as it stands there is no requirement or proof of Ownership / ID for the Right to use another’s image or Copyright material. Proof is not a requirement when uploading content, which is “Copyright Theft” of other people’s work, and the Law so far seem inadequate to combat this.

Producing music is a fraction of the cost, it is also easy to buy just the track you want so purchase cost is also minimal, profits made in online sales, but available for sale at minimal cost for infinity once uploaded. There is no going back with Technology, models like Spotify creates the right platform, where music is freely enjoyed but they pay a revenue to the owners of the music. Compared with the days of the Chimes, we don’t make the kind of money we were used to making from the physical production of music. It was a huge financial undertaking for Major labels, but it was the golden era of Live Performances and Cd Album sales. I commend Big Break Records for taking the decision to manufacture physical copies only of ‘Chimes Re mastered .” There is also a new found of appreciation for physical CDs. Vinyl records, and Live Performance of good Music, somewhat lost in the emergence of the digital era.

Big Break Records have re-released and re mastered The Chimes debut album. How would you place the importance of the group in the context of when it was released? And if possible is there a particular track that holds a special memory for you from it?

A huge Thank YOU to Big Break Records and the team at Cherry Red for re mastering and re releasing the Chimes Double CD Album. Now 26 years old, I feel a sense of pride, as it is a testament that our music stood the test of time. A dream come true for me, in respect to paying homage to timeless music rhythms. On CD2 there are so many fresh mixes, never been released. They still sound relevant today.  I will be focusing on those in my live shows. Singing familiar song with a fresh twist will be very enjoyable. I am encouraged by the interest. Re working the songs feels so surreal, a sense of DeJaVou.

When the Chimes Album was first released, it was well received by the general public. We were riding the crest of a new wave and appetite for Live Soulful yet Urban style Club Music. Where Street meets Musical Craftsmanship. Classical string productions and Brass sections were “In”…. and Phat Drums with Heavy Base lines were the order of the day.

Mike, James and I, had all served our apprenticeship in music, developing our craft, they were accomplished musicians and for me, a musical heritage inspired by the 70s era of Motown and Soulful Legends. Consisting of Raw Talent- Organic Live Sounds Musical Craftsmanship and Timeless rhythms. This was my aspiration, so it was a perfect time for the Chimes to emerged. The cream of Soul Singers, Song writers and Producers like, Family Stand- “Ghetto Heaven”, Young Disciples “Apparently Nothing” and En Vogue – “Hold On” – are joyously a few of my Peers in the late 80’s to 90’s. Soul II Soul being the forerunners, encapsulated all the above. They had a massive impact on the Street Soul cross over. The Chimes were privileged to work with Jazzie B and Nellie Hooper on two songs, “1-2-3” and “True Love So Strong”. Few bands went on to break America and the Chimes did that successfully, in particular with the USA mix of “I Still Haven’t Found What I ‘Am Looking For” on (Disc 1).

Bono making THAT comment about our version and my interpretation of
the song was quite remarkable, now a memory for others too, it always crops up in interviews, and in light of new information I stumbled across on YouTube, with Bono saying they used the Harlem Gospel Choir to get a Soulful feel, now make much more sense to me. It marked global success and achievement for the Chimes, such that it separated us from the norm and carved out our very own USP crossing Rock with RnB.

But..  the track that holds a special but “strange” memory is “Love Comes To Mind”. I still really enjoy performing it this song. The extended mix (CD2) is also a favorite of mine with the extended Base Line Groove. I am really not sure where the saying comes from. but babies are said to have been made due to this Love Song. I love it from the very Tile.. The thing I praise and acknowledge James Lock for.. Boy he could Pen a lyric. I fell in love with his poetic flow of words, hours and hours of crumpling paper until he was happy. We all took it in turns to write parts but the final editing was always down to James. This I consider HIS baby. What is more incredible, I don’t sound Drunk on “Love Comes To Mind”. WHY..? because my A&R (artiste representative) got me drunk then asked me to sing the vocals again. I DID NOT KNOW THAT WAS COMING. Seems he wanted something different from my performance that he did not hear when I was sober. Very unorthodox I know but it seemed to have done the trick. He left the studio ‘Grinning” like a Cheshire Cat. Now there is a man who knows what he want to hear and how to get the results. I on the other hand, was very proud of myself to have pulled that off. I happen to think it is one of my best vocal recordings. When I stepped into the recording booth for the second time, Marvin Gaye (my musical ancestor and guide) stepped in the studio with me like an Angel, serving as my inspiration and filling my head with melodies and harmonies in abundance.., layers and sub layers of the stuff,, Me grooving and feeling every impassioned word and nuance, state of mind is euphoric, and very relaxed while inebriated with Mike’s Peden’s Hypnotic base line keeping me in the Groove. A real master piece I think. The video to “Love Comes To Mind” is also one of my favorites. It is beautifully shot with happy loved up couples, even Myself, Mike and James appear to have a Aaaahhh moment altogether, which lends itself perfectly to the sentiment of the song. There are also members of my family in the Video, including my dear Aunt now passed. Fund memories all round.

Buy http://www.cherryred.co.uk/product/the-chimes-deluxe-edition

Can you tell us about how you approach a song, either writing or singing? Do you have a preference as to what type or tempo of music you like to sing to?

I generally have a lot of energy and love to Dance. I enjoy performing songs like Heaven, and think people like songs that makes them want to move. It is no surprise that “HEAVEN” was selected for extra reworking by GRAMMY nominated StoneBridge. The producer of the Robin S classic ‘Show Me Love’ who has many Bill Board Chart toppers to date, and also with renowned US re-mixer DJ Spen (& Reelsoul Rodriquez) having worked with Diana Ross, Michael Jackson, Everything but the Girl. They both bring a modern Dance twist to be found on CD2.

When I worked in the Chimes, we had a fixed way of writing. Mike and James would prepare sketches of music. I would then fly to Scotland and spend two to three weeks there. On hearing the sketches I would gravitate to one or the other, usually lyrics would flow from there. As a result I have always written that way, with a producer sending me a backing track I like then write to.

Recently I have been collaborating on new material with Carl Mackintosh who wrote for Loose Ends. He took me out of my comfort zone and challenged me to write a story first. It was like a therapy session. I realize I could no longer hide behind singing only positive pretty love songs. Carl wanted the negatives too, as without it there really was no depth. This was one of the hardest things I had ever had to do in my writing career, write about real life experiences, usually involving pain or darkness of a kind, as opposed to working from a vibe I liked which would naturally stimulate positive feelings to sing about. After challenging myself to write more honestly, I loved the end results, and very different. There is nothing wrong with either formats, just different process. I read once that David Bowie would tear words he liked from news papers and formulate his lyrics that way. So ultimately what ever works for the individual. When I wrote from the heart, the lyrics had more meaning. I can readily inform my audience what inspired me to write that song.

What is your favorite instrument? And do you own one?

I would have to say a Grand Piano. I do own both a Guitar and Piano.

What advice would you give to someone starting out as an artist?

Expect the Unexpected. If you expect to find overnight fame and fortune, think again. A lot of soul searching is needed first. A starting point would be to examine your heart. Ask yourself why you want to succeed in the music business? What do you know about the industry? The old adage, “IF YOU FAIL TO PREPARE, YOU PREPARE TO FAIL”. Make it your business to learn about every part of the business because if you don’t someone WILL take advantage of you along the way.

Because of what happened in the past with myself, not understanding the business, I am having to put on seminars to help educate artiste and musicians alike, imparting my knowledge and wisdom gained from many years working in the industry both as an artiste and as an entrepreneur. Education is key, the knowledge you gain will dictate the kind of money you earn, and your sustainability. I have a website you can visit and find out more http://paulinehenry.com

Who remains your biggest influence and why?

My Father Charles Henry remain my biggest influence to date. He instilled in me the quest for Knowledge, Wisdom, Drive, and Determination, and to be the best I can be. I have inherited his love of learning, such that I went on to study Law, did my Masters in IP Law, did a Chef Degree, also one of my passions, while raising my daughter. The extra knowledge I have invested in has helped me to grow. There is still so much more I am interested in, Horticulture, Spiritual Growth, being proficient in IT, and expand my music seminars in developing artiste alike and still mentioning my primarily passion and life’s purpose, which is MAKING MUSIC.
There will be plenty of time to relax when I am old and frail. My Dad was the same, a ball of energy always on the go, which made him an interesting and vibrant personality to be around, helping the community and inspiring young people.

My gratitude and appreciation for my Father, extends to the things that he did that were great, and the things that he did that were not so great, especially in appreciation of all the negative stuff, it turned out to be an opportunity for me to learn and grow, and the importance of developing emotional maturity to help me to be a better example to my Family.  I have become all the more because of them. He is a huge part of who I am today.

What have you got planned for 2017?

2017 is going to be an amazing year. From now through to 2017 I am currently promoting the CD, with interviews press and radio promotions.

I am working with my agent on plans for some Live Tour dates and Appearances soon to be announced. Updates can be found on my website http://paulinehenry.com

The Chimes are also planning to do some Re Union shows in Australia, NYC and London. Between our crazy schedules and wide demographics, a new record is planned in 2017. It will be fun working with Mike and James after all this time.

I am also working on completely new recordings to be released in 2017, and look forward to bringing something new to the industry and taking to the Live Stage in a venue near YOU…..Thank you to everyone how have supported our Music.

Twitter @PaulineHenryUK

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