ON THE MOVE MAG - DECEMBER 2018 by On The Move

In the current music industry where radios, TV and streaming platforms are the big players deciding to spread the word about an artist (or not), it becomes more and more difficult for new artists to get their music heard if they don’t meet some criteria. It takes time, it takes patience, it takes talent but above all it takes a lot of hard work. At On The Move Magazine, we give a particular attention to talent no matter where you come from, your musical genre, the amount of followers/views/fans you have got. We don’t talk quantity, we talk quality. We talk quality because we love music with the big M. We carefully choose the artists you’ll discover in this magazine to introduce you to «la crème de la crème». You’ll find big names, you’ll find unknown names. You’ll love what you’ll listen to, or maybe you will hate it but at least, you’ll give our artists a chance. Because at the end of the day, every success story began with a chance given. »

Pamela Charbit founder of On The Move

EDITORIAL

REWIND

24 Delta Sleep, Justin Jesso and Lennon Stella ZOOM ON :

The best albums of November

42 INTERVIEW : Jez Dior

INTERVIEW

BASTIAN BAKER,

taking over the world with his new album

INTERVIEW

LOĂ?C NOTTET,

more confident than ever

SUMMARY COVER STORY

MARTIN SOLVEIG,

the career & future of the French DJ

INTERVIEW

OLIVIA GRACE,

following her dreams and passion

INTERVIEW : Yoshi Flower

Are they worth seeing live ?

Sam Fender and Tamino

71 Whatâ&#x20AC;&#x2122;s Up In France ? OTM Mag : Meeting the team 73

52 58

REWIN EVERYTHING YOU MISSED AND NEED TO KNOW

music video OF THE MONTH Your favorite slytherin is back in action. Starring in the emotional new music video of «Empty Space» by James Arthur, Tom Felton gave it all and brought to life the destructive spiral of grief and heartbreak. Talk about an acting performance!

IT HAPPENED ONE YEAR AG0 The old Taylor Swift is dead. A year ago, Taylor Swift launched a brand new era with her single «Look What You Made Me Do». Colder, darker, and bolder, on «Reputation», she was ready to rip her own image apart and own her bad press instead of brushing it off. Were you ready for it?

JAMES ARTHUR EMPTY SPACE

SAVE THE DATE backstreet'S back alright! Everybody, move your body because their time is far from over! The infamous boyband from the 90s is back for yet another tour accross the globe. One more occasion to sing your heart out to « I Want It That Way » or « Everybody ». Get your dance moves ready! DNA World Tour - In Paris on May 19th.

IN CASE YOU MISSED IT THE GREATEST SHOWMAN REIMAGINED As if The Greatest Showman wasn’t already one of the best movies of the year, a collective of pop artists decided to make it even better. From «The Greatest Show» to «Million Dreams» and «This Is Me», Brendon Urie, P!nk and Kelly Clarkson to only name a few, decided to join forces and reinvent the movie score with a pop twist.

otm playlist LSD - MOUTAINS EMILY WARREN - PARANOID BRYCE VINE - DREW BARRYMORE IMAGINE DRAGONS - MACHINE HOUNDMOUTH - GOLDEN AGE FOSTER THE PEOPLE - WORST NITES GOODY GRACE - NOSTALGIA IS A LIE

BASTIAN BAKER Since his debut album, «Tomorrow May Not Be Better» and our last interview with him, Bastian Baker has come a long way and broadened his musical horizons. Actually, the Swiss singer-songwriter has travelled between pop, pop-rock and folk and is now exploring country sounds. After two other albums (« Too Old To Die Young « and « Facing Canyons «), he is currently on an international tour with Shania Twain and is taking advantage of a visit to Paris to tell us about his new eponymous album.

n The Move: How are you ? How does it feel to be back in Paris? Bastian Baker: Feels good. I made some new resolutions and I’m happy to be able to come back to France, it’s been a while since I’ve been back so I’m happy! On The Move: It’s been a long time. What happened since 2011 and the release of your debut album «Tomorrow May Not Be Better»? Bastian Baker: It’s been a long time, yes, it was a long time ago! I’m not going to do the retrospective of the last eight years but I’ve travelled around the world, I’ve made other albums, I’ve been busy. I am lucky enough to be able to live off my passion and therefore to have some pretty crazy experiences all over the world thanks to this. On The Move: Can we say that it had an impact on you, on the way you make music, on your tours...? Bastian Baker: Yes, totally. It has been a long process of encounters and collaborations. Lately, the most important was Shania Twain. I met her six years ago at the Montreux Jazz Festival. So yes, there really has been this continuity in my career, where every encounter, every trip, has taken me somewhere new until I ended up here with you today. On The Move: Exactly, in the interview we did at the time, you said «if I create a melody, I won’t write the lyrics for it six months later because in the meantime I’ve evolved». Do you still think it is the case? Bastian Baker: Yes, let’s just say that what really changed on the new album was that I collaborated with other songwriters. I often finished the songs the same day I started them. There wasn’t this situation where I wasn’t serious, not finishing the song. I’ve written almost sixty songs in a year and a half. It was the input that was really beneficial: working with other people, doing planned sessions. Although it may sound a little more formal, it is cool! On The Move: How did you experience this transition? You went from an artist who musically started to find himself to an artist who writes sixty songs a year. Bastian Baker: I like it, it’s the best excuse to meet strangers because that’s the way it turned out. I met

one, two, three songwriters who introduced me to one, two, three others... a lot of different people with whom I wrote the album. I think that there were about fifteen songwriters. They helped me to participate in the album and it’s true that it felt good. It opened up new horizons for me: tracks like «Stay» which is electropop for example. It’s not necessarily something I used to do naturally but I like it too. I think the transition went pretty well! On The Move: Your new album is called «Bastian Baker». Why did you make that choice? Bastian Baker: Yes, soberly. The eponymous album is often something that comes with the first album and, in this case, it will be my first album in a lot of territories like the United States, Australia etc. And also because I felt like I closed a chapter with the first three albums. Actually, I feel like I’m at the beginning of a new chapter with this album. There was this feeling of «rebirth of the phoenix», renewal, new beginning...

« I feeL like I’m at the beginning of a new chapter » On The Move: So if we compare your four albums, we realize that each one is different. You went from pop rock to folk and then to country. How did it happen? Bastian Baker: Yeah! It’s Bastian Baker’s trip (laughs). I don’t think I’ve ever liked being put in one box. It’s true that I like to navigate between different styles. On each album, there were songs which were very different from one another. This is still the case on this one. If you compare «Blame It On Me», which is a country song, and «Yokko», which sounds like The Weeknd, there are quite a few different universes. But it’s true that in the United States, I have the label «country». There are still different influences. I wrote a lot in Nashville, which is like the cradle of country music. More than the places, it is really the people I work with that inspire my music. On The Move: So did Nashville influence you? Did you write a lot of songs there? Bastian Baker: Yes, I wrote a lot there but not the whole album. I worked between New York, Los Angeles, Nashville, Toronto and Montreal. I also

went to Belgium, in Brussels to put the finishing touches. I’ve worked with guys like Jacquire King, the producer of Kings Of Leon, Of Monsters Of Men, James Bay that I love, with Jordan Lehning. If we talk about country, it was with him that I did «Blame It On Me» and also «Stagefright». It’s more of a rock song, more like Shawn Mendes. He worked with Kacey Musgraves. So the places do have an influence, but in fact, I’m mostly inspired by the people who live there. Just because I was in Nashville looking out the window doesn’t mean I had an idea for a song. On The Move: Do the songs come to you depending on the environment you are in? Or did you want to write a country song and you thought, «I’m going to Nashville to write it»? Bastian Baker: No, typically for «Blame It On Me», we were at a friend’s house. I was playing guitar and two girlfriends came, two super talented songwriters. At only 21 years old they are impressive. So we wrote this song full of beautiful metaphors that talk about the tensions you may experience in a relationship. Yes, we were in Nashville, yes, we recorded this song in Nashville with musicians from Nashville and a producer from Nashville: indeed, with all these factors, the chances were high for it to turn into country music.

« I don’t think I’ve ever liked being put in one box » On The Move: In 2011, you were already talking about doing more country music, you already wanted to take on the American market. Do you think that it encouraged you to go to Nashville? Bastian Baker: Yes, it’s clear that it increases the chances compared to Perpignan! (laughs) It was mainly the tour with Shania Twain that opened nice doors for me in the United States. Right now in the American press, it’s pretty awesome, it’s pretty unanimous: RollingStone, Billboard, it’s really cool! Yes, I think it’s really the moment when all the efforts that have been concentrated over the last 6/7 years, the whole story we created to get to the United States with content... it all makes sense now.

On The Move: So you went on tour with Shania Twain? Bastian Baker: Yes, we’re still on tour right now. 80 dates in total around the world and we only play in arenas of 15 000 to 17 000 people. I do the opening act and then I join her on stage. I have a really big exposure both in the media and with the public. We just have Australia and New Zealand left, for the whole month of December so I’m going back to the sun, to summer. So yes, a tour like that with a legend like that helps to open doors. But it’s true that from the very first album as you say, my intention was really to reach not only North America, I wanted to have a global project. It’s something that stimulates me. On The Move: Does working with Shania Twain have an influence on you? Bastian Baker: Actually, I’m learning a lot from her, whether it’s on tour, personally or on stage. We haven’t written a song together yet, but maybe we will in the future. I really want to write with her one day but she has been more of a solo writer in recent years. She collaborated with many people for a long time and now, she wanted to be in control of the whole story. I’ll wait a little while and then maybe we’ll write something together. On The Move: We can hopefully expect a collaboration! And after this tour with Shania Twain, do you already have a planned tour of your own? Bastian Baker: Maybe, we’ll see. Future will tell! I hope so, that would be really cool. We launched a tour called the «Pregame» to do a kind of warm-up before the festival season and before a larger tour in the autumn of 2019. We’re going to Paris, by the way! It will be on March 18th at La Maroquinerie, very important to mention it. We also play in Switzerland, Holland, Germany, Belgium. After that, I will be on constant promotion in the next few months. I will go back to the United States in a few days before returning to Australia. And then at the beginning of next year we have some plans too. I will also continue to write because I am starting to have a network of people with whom I like to write. On The Move: Do you prefer to write with songwriters or are there artists you would like to collaborate with?

Bastian Baker: Now I prefer to write with others rather than alone. I find it much more social and nicer. Otherwise there is not necessarily an artist who makes me fantasize, with whom I can write. I think the experience of writing with Ed Sheeran would be special because I don’t understand how he does it! I don’t understand how he manages to have so many songs that are so many hymns, that so many people know by heart. I’m impressed by his ability to do this. I’d like him to give me two or three lessons. I’m sure it would help me. On The Move: The last time we saw you on stage was for the release of «Too Old To Die Young». Were there changes in the band that works with you? Bastian Baker: Yes, there has been a change. We added people who were not here before. There are Zack and Leon doing the brass and then there’s Priscilla, the multi-instrumentalist backing singer. And then sadly, we lost Simon the pianist, who is leaving to work on his own project. Unfortunately, he won’t be on the next tour with us. It’s a shame but you always have to let people go. All the musicians who work with me know that they can follow their own paths. I am always in favour of others’ happiness. I am looking for a new pianist by the way, please send me your resume if you’re a multi-instrumentist pianist. The rest of the group remains unchanged: Nathan Bonjour (drums), Joris Amann (guitar), Christophe Zindel (bass), Priscilla Formaz (backing vocals)...

« Tomorrow May Not Be Better» (2011)

On The Move: What have you been listening to lately? Bastian Baker: I don’t listen to a lot of things, but I actually listen to a lot. I listen to a lot of Portuguese music these days. We played in Brazil with Shania Twain in front of 100 000 people. I fell in love with this language. I listen to Vanessa da Mata, Vitor Kley. I listen to a Dutch punk rock band that I love called The Deaf, they are crazy on stage! I did a little souvenir session with The All-American Rejects because I was wondering what happened to them. I’m a big fan of The Weeknd, I listened to the album a lot. I’m still a big fan of Robert Francis, he became a friend now so it’s fun. Angus and Julia Stone too, Dierks Bentley for country, The Script because for me, they have some of the best lyrics in the world. I love The Script! A lot of different things.

INTERVIEW BY NAOUMIE BENATTAR AND Pam Charbit WITH DéBORAH GAILLARD PHOTOS BY NAZYM HERMOUCHE EXCLUSIVELY FOR ON THE MOVE

« Too Old To Die Young » (2013)

« Bastian Baker » (2018)

LOÏC NOTTET We could crown a new « pop prodigy » every two days but this one really deserves the title. Three years ago, Loïc Nottet’s flashing debuts through the Eurovision Contest or the French version of «Dancing with the Stars» only showcased part of his talents… In 2017, with his dense and mature debut album « Selfocracy », the young Belgian developed both an original and an immersive universe. Several months after the end of his tour, a new era is opening for the singer-songwriter… It brings new sonorities, new preoccupations and a new image already perceptible in his new single « On Fire ». Let’s meet the brilliant performer, at the dawn of a new chapter.

n The Move: Hi Loïc ! Thanks for having us. The « Selfocracy » era linked to your debut album has come to an end a few months ago now, with the end of your tour. What has happened since then?

minute the night before the release of «On Fire». When it came out, I was online every 5 minutes to check the comments, I am really not fully confident but I believe a bit more in myself now!

Loïc Nottet: Thank you for featuring me for the second time! So, it was a period of both rest and creation for me. I had composed a lot during the tour. More than after it, even if I continued after the festival season. I had a bit of a vacation for a week and then, off to work... Well, that seems negative told this way : creation more than work!

On The Move: The music video for « On Fire » just came out. What has guided you through the creation of this very dreamlike visual?

On The Move: You released a brand new track a few days ago called « On Fire », which sounds more urban than your previous material. What did you want to bring with this single? Loïc Nottet: I wanted something a bit different, without letting go of pop music because that’s the music I love and I listen to. I wanted to stay in this pop universe but change the sonorities a bit, and bring some more urban touches as you said. I teamed up with the producers Skydancers [also known as a band : We Are I.V] which understood well what I wanted for the track. As in my previous album, I composed the track in an imaginary language, with a piano base and then, I brought them this piano-voice piece. They worked around it, proposing different versions of it. Then we went to the studio, talked and fined it down... It was the same process as in the first album but I wanted to bring something new, refreshing! On The Move: There is also an evolution in the themes you tackle... «Selfocracy» talked about narcissism, self-centredness, stereotypes, our internal demons and eventually, tolerance. With «On Fire», it’s determination and empowerment that dominate. Will this be the dominant feeling in your future record? Loïc Nottet: For now, I really think in terms of singles but it’s true that all the songs I’ve been composing so far are tied to a specific mood I was in. « Selfocracy » reflects what I thought about, what was in my head from my 17 to 20 years and « On Fire » now corresponds to the person I truly am today. I’ve decided to accept myself more as an artist. I needed this time to process and tell myself «yes, if you wanna wear strange things or change your hair overnight, you can do it!» If you can’t do such things as an artist, who will be able to? There was a lot of changes in my mind on these matters, and then, my new single sounds more like a battle song, more self-assured! It’s also thanks to all my experiences from the previous years... I can’t say it allowed me to be fully confident because I’m still not serene, I haven’t slept a

Loïc Nottet: It’s the most artistic music video I have done so far. I wanted to come up with a very peculiar concept and try to do something unique – even if today, it’s pretty difficult to do something that we have never seen before. I wanted to go back to basics, to use as little technology as possible. I wanted a more colorful video, also more poetic and narrative. Something more imaginary actually! I let go of reality completely, and proposed an indefinite place. Or at least, a place you understand is not real. It is a bit more childish somehow, there is more fantasy!

« I’ve decided to accept myself more as an artist » On The Move : « Selfocracy » was a concept album, where you developed a total work of art through lyricism, music, dance and graphic arts. Will your next album be in this continuity – like another chapter to the story – or do you want to approach it in a completely different way ? Loïc Nottet : I always think on a 360° scope, even still today. When « On Fire » came to my mind, it also brought the artwork, the music video, the clothes, the imagery, the colors, the stage settings… It all came at the same time. Like a full package! Regarding my next album, I’ve already been asked if it would be the followup of « Selfocracy ». Indirectly, I think it will be… I mean, « Selfocracy » is 100% me, when it comes to the message behind it, or at least that’s what I’ve been through. I haven’t lived much, but this is what I felt like in my teenage years, that’s why I don’t regret a thing about « Selfocracy ». Even if now I can understand why some people thought it was too dark…. Today, I see it because I’m not dived in it anymore. But I don’t regret it because it was what I had to do at that specific time. Today, I want another image, other colors, but yes, it can be seen at the follow-up… Adele named each of her records with a different age. I’m not going to do that, but each record corresponds to an age indeed. In the end, if I’m lucky enough to have a long career, I want

to be able to put each record next to each other and say: « Do you want to know who I am? Here it is, 18, 22 years old… My conception of the world and my place in it, it’s all in the songs. » But it doesn’t prevent it from being different each time. Now, I want something fresher, more luminous! On The Move: Has your creation process changed since the release of « Selfocracy »? I read that, for your debut album, you got inspired by watching movies without the sound… Do you still do that? Loïc Nottet: Yes, I do. I really need images to get inspired… I really love human bodies, I need to see those characters, those costumes, or even just objects. If I see an abandoned chair, I can find a certain poetry in it and compose something in my head. Then I could write a song whose name would be « Chair » but it would have a whole other meaning. So, yeah, regarding images, nothing has changed. But when it comes to my team, it’s cool because I had the chance to work with new people. I co-wrote « On Fire » with Sacha Skarbek. He is a very talented British producer from London. At first, I was a bit afraid because he composed and co-wrote songs such as « Wrecking Ball » from Miley Cyrus, he worked with Adele, Lana Del Rey, and a lot of other big names. I was scared to meet someone self-centred but he was the complete opposite, so chill. I had also never worked in this country before. But it was a very interesting and brand new experience. As I don’t write everything myself - I give my ideas, we work to put it in form and then I sing to see if I feel it –, it allowed me to grow and learn a lot in this field. On The Move: We’re talking language here… Has it ever crossed your mind to write in French, your mother tongue? Loïc Nottet: I already write a lot in French, actually. I have some texts but for now… I love French, especially when it is so well used. I think of artists like Jacques Brel, who absolutely mastered our language. And in his mouth, the words went so well. But I feel like, with the music that I do, it wouldn’t be the same in French… On The Move: It’s the transition to singing that bothers you… Loïc Nottet: Exactly! When I compose in this indefinite language, it always somehow sounds English *he sings a bit of « On Fire »* I don’t like to alter the song and enforce words or sonorities that didn’t come out naturally. But never say never ! Maybe one day, I’ll perform in French but for now, I don’t know.

On The Move: Dance is also a big part of your universe. How do you practice it on a daily basis? Loïc Nottet: Unfortunately, I don’t practice it much these days. For now, we focus more on the creation, the image, the video and stuff. I don’t have time anymore for a daily training, like I used to do. But I think I would need to hire a sports coach to train a bit and to force me to go easy on McDonald’s because God knows how I love junkfood (laughs) I’d really like to go back to sports, also because concerts are coming and I will need to have that discipline again. On The Move: You had your first festival season this summer. How did it go ? How did you adapt your perfectly crafted show to this particular format? Loïc Nottet: Well, it was less difficult than what I imagined. I thought I would be frustrated but in fact, it went smoothly. We kept the dancers to the maximum. When we were able to set up the screens, we did it. There was some adaptations obviously, some of the scenes had to be changed – as the one where I’m playing the puppet because we couldn’t use the proper material – but it was also positive, it refreshed the whole project somehow. We toured for quite a while with the « Selfocracy » show and in the end, it was exciting to arrive at the festivals and to make some changes! After all, I coped well with it.

« I always think on a 360° scope » On The Move: Was it hard to perform in front of a public that isn‘t necessarily yours, that you have to win over? Loïc Nottet: It was very nice actually! But I was pretty anxious because I always think people will throw things at me and tell me to go away… On The Move: There are little chances! Loïc Nottet: Yes but I am so paranoid, I was shaking everytime. But in the end, I could see people staying, not leaving in the middle of the set, and clapping loudly so I was so pleased! I could feel like I had conquered something, that I had touched another public than the one following me for several years now. In a sense, it’s more complicated to win over people that have never

seen you before because you start from scratch… If you release a single that’s a little bit less good, your usual public will « forgive » you and say « it’s okay, he’s done better things ». From another perspective, if you disappoint your public too strongly, it can be irreversible too! So it depends but overall, festivals were a great experience. On The Move: There were some featurings on the tracklist of « Selfocracy », with Lil Trip, Shogun and Raphaella. Is there any collaborations you’re dreaming of? Loïc Nottet: A lot! For the upcoming songs, we would like to have featurings. But it’s always a game of negociations, talking, to see if it can be done. But it’s a wish, from my part and from the label to have some. Outside of these considerations, a collab with Imagine Dragons -going in the studio and creating with themwould be a huge dream!

listening to English pop – British or American – I have never listened to another language so I am inevitably inspired and influenced by it. British and American artists are great performers and are going far to create their own worlds. Maybe that’s it, I don’t know. On The Move: If you could talk to your 18 year-old self, what would you say? An advice, a lesson learnt from all your experiences in between? Loïc Nottet: I would tell him to carry on, and believe no matter what. If he’s got an instinct, he has to follow it because I’m convinced that, if I can come back today with a song like « On Fire » and a look like that, it’s because I’ve been through all these things in between. So I’d say : go, believe in yourself, your hopes and don’t give up. It sounds cheesy but it’s true and it’s important to say it. To keep dreaming a little! Again, if artists stop dreaming, then where are we going? So, stay true to yourself and keep going!

« I don’t regret a thing about ‘Selfocracy’ BUT Now, I want something fresher, more luminous » On The Move: The Belgian musical scene is very dynamic these days, with a lot of talents who get to cross the borders and meet success abroad. We’re thinking about Angèle, Roméo Elvis, Tamino, Oscar and The Wolf or Tsar B. How do you explain this? Loïc Nottet: Is there a «Belgian Touch»? Honestly, I don’t know but we do have this particular sense of humour, especially around Brussels… I’m thinking about Angèle here. This vibe –that I couldn’t explain properly- is also very strong in Alice On The Roof ’s latest track « Malade ». I like it, very Belgian in a way! On The Move: You were telling earlier about seeing your art on « a 360 degrees scope ». I feel like this is a common point : having this strong, identifiable universes like Angèle or Oscar and The Wolf. Loïc Nottet: Yes, I don’t know… That was the case for Stromae too! Is that because we’re a divided country and we are strongly influenced by the Anglo-American culture on our Dutch side? There are a lot of international artists that forged strong universes for themselves. Maybe we’re inspired by that… I, for instance, have always been

INTERVIEW BY CORALINE BLAISE PHOTOS BY DAVID FITT EXCLUSIVELY FOR ON THE MOVE

ZOOM ON... With the power of the internet and social media, aspiring musicians now have a powerful platform in their hands to create music and make themselves heard. And, the public, on the other side, is one click away from discovering an infinity of talented young artists... Each month, the team of On The Move chooses some of them to showcase and bet on their careers, bound to take off in the near future!

DELTA SLEEP THE HEIRS OF MATH-ROCK We know you love British rock, and we do too! Maybe you even read our last month’s issue’s report on British Rock and its heirs and found your new favorite band? Well if you have not, it’s not too late. In the meantime we’ll fill you in with the Brighton lads from math-rock band Delta Sleep. Not familiar with math-rock? Keep on reading, you’ll find out a lot about this not so new British quartet. Delta Sleep is composed of self-taught musicians Devin Yüceil (guitar, lead vocals), Glen Hodgson (guitar, vocals), Dave Jackson (bass, vocals) and Blake Mostyn (drums, vocals). Originally from Canterbury, Devin and Glen met at university where they started playing acoustic songs on their own before looking for bandmates and starting a band called Savlon with some other friends. After a slight change of line-up, the band moved to Brighton and started the project Delta Sleep in earnest. Their first EP released through the label Big Scary Monsters in 2013 named “Management” is the pure definition of math-rock, a style of indie-rock characterized by complex, atypical rhythmic structures – including irregular stopping and starting – and often dissonant chords. Bearing similarities with post-rock, Delta Sleep’s drumming style technique is influenced by jazz. What’s amazing with this EP is that the quartet can show themselves as ambient, calm dreamers as in the track “Camp Adventure” as well as show another side of their personalities and into loud, post-hardcore noisemakers, as you can hear on “So Say We All”. Two years later, the band released their first studio album “Twin Galaxies” and proved an undefinable amount of effort to refine their sound and songwriting. The record offers a lyrical narrative, with both playful and melancholic melodies: “Musically the themes fluctuate from nostalgic laid back vibes to brutally raw energy and everything in between. Lyrically, all the songs are connected by one underlying theme about a guy who goes through a rough patch and

his entire town crumbles into a vast ocean. He then has overcome certain aquatic obstacles in order to find his way to a new land.” It’s becoming harder to put the band’s soundscape in one genre. The band is described as an “enchanted battle between Don Cab and At The Drive-In for the city of Radiohead in the land of Faraquet” which is very much not far from the truth. And “Ghost City”, the band’s new album released in August this year also proves the point. The lads push beyond the labels of just math-rock, demonstrating a firm mastery of structure and melody. This record – although quite deep and dark – is daring, bold, dynamic and colorful… Everything is beautiful in full color, right? Truly, Delta Sleep has proved to be one the most consistent bands in math-rock, and hopefully will be a force to be reckoned within the genre for years to come.

Listen if you are a fan ofFoals, Tangled Hair, American Football (the band, not the sport)

One song to listen to«Spy Dolphin» and «El Pastor» for its Mexican vibe and headbanging-like riffs.

JUSTIN JESSO

The ‘Stargazing’ singer out of the shadows

Unless you’ve been living under a rock for the past year, the name of Justin Jesso is probably already familiar to your ears. Whether you know him well yet or not, you have to check out his EP «Let It Be Me»… for your own sake! You’ve been warned! Yes, you got it right! The Grammy-nominated vocalist Justin Jesso co-wrote and was the featured vocals on Kygo’s hit «Stargazing» and went on tour with the DJ for the whole year. No need to introduce this smash hit that is probably already in all of your playlists though. Whether it was on Kygo’s own «Kids In Love» worldwide tour or during festivals such as Coachella, Justin Jesso accompanied the 27 year-old Norwegian DJ everywhere, showcasing at the same time his great vocals and sowing the seed of his own future career. This successful collaboration propelled Justin into the spotlights and the singer originally from Chicago is now ready to make his mark on the music scene under his own name and be the artist he always was destined to be: «I was the kid who went for the plastic toy microphone instead of the football» he says.

After unveiling his catchy pop debut single «My Body», and its colorful music video, Justin Jesso has three other tricks under his sleeves that he decided to reveal last week. Whether it’s the mid-tempo pop-electro «Getting Closer» or the smooth «I Will» and the catchy «One Good Reason», there will for sure be one track that will resonate with you.

Listen if you are a fan ofPop artists like JHart and Emily Warren

One song to listen to«Getting Closer» will for sure make you feel some types of way.

WordS by PAM CHARBIT PHOTO BY Jeff Collins

Justin Jesso’s EP « Let It Be Me » (2018)

Lennon Stella New pop princess going places After years of making her way in the entertainment industry, it is time for Lennon Stella’s lush electronic pop to flourish. Lennon Stella came into the spotlight in the most appropriately Gen Z way possible: with a hit YouTube cover. Back in 2012, at just 11 years old, Stella and her sister posted a cover of Robyn’s «Call Your Girlfriend». The video went viral, even resulting in an appearance on Good Morning America. Today the video has over 30 million views. Later that year, the two landed roles on the televisions show Nashville, playing sisters Maddie and Daphne. The show ended in July this year, but Stella is really just beginning. After years of making the climb, she finally released her debut EP on November 16, «Love, me». On her Instagram, Stella described the process: «After years of writing and trial and error, feeling defeated and then feeling on top of the world, time discovering who I am as a human and as an artist, I have now come to a point where I have this little cluster of songs all in one place with a bow on top and I can’t possibly explain in words how great it feels». Lennon’s first single from the EP, «Bad», is a song of heartbreak. She sings of being cheated on, wishing her lover had treated her bad instead of so well because it would be easier to move on. She sings: «The truth is you couldn’t have loved me better. Now I’m left feeling twice as sad». The song is an official departure from her country background. With her first single «Like Everybody Else», Lennon was taking baby steps into coming into her own.

Now she is ready to ascend into full-blown pop-- pop by 2018 standards of course. «Love, me» is not bubblegum pop. In talking to Teen Vogue, she described the record as «indie pop». She collaborated with producer Greg Kurstin, known for his work with Sia and Adele to create music that’s for both dancing and relishing in sadness. The EP is a chance for Stella to flex her skills as a songwriter, in addition to her own style. She already had experience writing songs during her time in Nashville, where she was one of the writers for four of five songs on season five. In signing with RECORDS, a venture coinciding with Columbia Records, Stella said: «I feel so lucky to work hand in hand with this incredible and inspiring group of people. There are no words to describe the feeling of finally being able to release my own music, something I have always dreamed of».

Listen if you are a fan ofDua Lipa, Halsey, Anne-Marie

One song to listen to« Bad »

MARTIN SOLVEIG We cannot talk about the French electro scene without mentioning Martin Solveig. With more than 20 years in the business and still creating bangers like «Places», «All Stars» and «My Love», Martin Solveig has a serious track record and still knows how to entertain and please his fans. He returned to his hometown last month to play a full set at the legendary Olympia in Paris and took some time to talk about his way to create music, future endeavors and plans for 2019.

n The Move: Hi Martin! We’re happy to have you with us here in Paris. How does it feel to be back? Martin Solveig: Hey guys! Thank you for having me! Of course I’m super happy to be back, Paris is my hometown and even though I left it sometimes to travel, it remains where my roots and family are. Everything is here. On The Move: How did your show at the Olympia go? It’s been a while since you played a big show like that in Paris! Martin Solveig: That was amazing! That was the second time I played there, the first show was in 2009 so almost 10 years ago. It’s always an important date when I play there. My first time really impressed me and I have the best memories from it so I really wanted to go back and play there. This time was a particular occasion though because I am working on a new show which takes me away from the turntables a little bit and goes more into pop. I thought that it was interesting to get back to my story, where I left it in 2009 at the Olympia. Now we are in 2018, almost 2019. Time flies!

« I WOULd love to work with Lenny Kravitz or Gwen Stefani » On The Move: We see nowadays a lot of crossovers and collaborations between electro artists and pop/rock artists. Did this new trend influence your own way to work? Martin Solveig: Not much for now because I don’t have a lot of collaborations like that yet but I’ve naturally started getting into it for the last couple of months. I am currently working on many collaborations with other artists. Production wise, I’m working with EDM producers and I’ve always loved collaborating with different types of voices. Whether it was with Kele from Bloc Party, Inna who is a pop singer, or Madonna. I mean, Madonna is something else of course. On The Move: Are there some artists’ voices you’d like to get on your productions?

Martin Solveig: Yes, there are a lot. For example Lenny Kravitz or Gwen Stefani. I’d love to work on a particular track with them and really collaborate. Not just being me and their voices but I know it’s not really possible with artists like Lenny for example. On The Move: You’re mentioning the fact to really collaborate versus doing your thing and asking them to sing on it. Which way to work is your favorite? Martin Solveig: I don’t really have any preferences, the only thing that matters to me is that I’m 100% satisfied of the track I’m releasing. For instance, let’s talk about “All Stars”. It took me 4 years to release this song because it took me 4 years to be satisfied with it. At the moment, I’m working on a track with a rapper, the voice is amazing but the track itself is not good enough so I’m waiting until the moment I’m satisfied. The making of a track doesn’t really matter to me but I just want to be able to press play and be entirely satisfied and happy with how it sounds. If I have doubts, I’m not releasing it. On The Move: The music industry has really changed over the past few years especially because the main focus now is releasing singles instead of albums. Is your technique evolving because of the new marketplace? Martin Solveig: This new era allows us to do pretty much whatever we want to do. When I started in the business, you had to release albums to be legit, it’s not like that anymore so we can say that the new marketplace influences people’s way to make music. There’s more and more music coming out every time and I try to be sincere and honest with mine. A lot of managers explain that you need to release new music every two weeks because people want more music, faster. I have issues with it because if I was capable of releasing new songs that I love every two weeks, I would. But it’s not possible. Everyone around me, myself including, want me to release more music but it’s difficult because the more I age, the more I am getting demanding with myself. I already have a lot of music out and I don’t want to repeat myself, to do the same thing or unveil tracks that aren’t great. I’m not impatient. On The Move: You don’t want to repeat yourself and your music videos show that very well. You try to always display a new form of creativity there. Are you always thinking about the visuals you want to propose, when you work on a track?

Martin Solveig: I have many music videos, some are awesome and some are not that great. Since the very beginning I’ve been thinking that there’s a connection between the sound and the visuals and I never thought that we could give only music without visuals. What I like the most when I work on my project is the body of work which includes both the visuals and the music. It’s very important to me to collaborate on the visuals side because I’m not that skilled on this part, I have less experience in this area but there’s always an imagery attached to a song I make. When I finish a song, I always have an idea of what I’d like when it comes to the music video. For example, the music video of “All Stars” was made thanks to Thomas Lélu’s hard work, who I wanted to work with for a long time. When I made “All Stars”, I instantly knew I wanted to work with him on it. I wanted something really pop but at the same time different and funny in some sorts so I really wanted him on board. On The Move: Is there an artist / director that you often collaborate with on your music videos? Martin Solveig: I met my current manager because he was in charge of the visual production company that helped me to make all my music videos from “Rocking Music” to the end of my album “Smash”. We were a small team and we’ve done everything together and from this point on I wanted to collaborate to open new doors and collaborate with other artists, directors and producers who had more experiences, had another point of view and could enrich the visual world I wanted to display. On The Move: Outside of music, are there some artists that you are getting inspiration from? Martin Solveig: There are a lot of them. One of them is Maurizio Cattelan. He is very well-known and is very pop with a funny side. Someone who has a lot of humor, sometimes dark humor. Another artist that has been inspiring me a lot is Bacon who’s my favorite painter. When it comes to directors, I’d say Spike Jones who is a big influence to me, he’s an artist I love. He’s a genius to me. On The Move: You played at the Olympia last month. How was it? Martin Solveig: That was a particular preparation. It wasn’t a DJ set but a real live show where I vocally interpreted half of the show and I was with musicians and performers. It wasn’t made like a DJ set and it

was important for me to have this because I think that at some point, being behind the turntables won’t be enough anymore. Electro artists and any artists have a lot of room for growth with live music. Every time you have a hit, people take possession of it and associate it with their daily life. So when they listen to this song at a show or festival, they find each other and share something deep with strangers. One of the biggest challenges in our current society is to bring people together because a lot of things are tearing people apart. Music has this power of bringing people together. When they are together at a show, they are less agressive, and they go to talk to each other and share things. It’s the thing I’m the most proud of and this is what matters the most when you make music because you tell yourself that what you’re doing is worthy and help people to find each other.

« at some point, being behind the turntables won’t be enough anymore » On The Move: What’s the main difference between this performance and a DJ set? Martin Solveig: Let’s talk about Ibiza for example. This is a real DJ set. The only thing that matters is not the fact that I’m physically there but the music that will be played for hours. People are coming to dance, just like in a club and I’m just here to give the ‘tempo’ and the vibe. What I showcased at the Olympia and what I will give in the future is something you need to see. You can just come and sit and be entertained. It’s a whole package, not just music. On The Move: Is there a song you’d like to remix? Martin Solveig: Not really, I don’t like remixing tracks because this is not what I am the best at. I feel like I’m more art than technique. I need to get better at arranging songs, I am not a fan of machines and technical things but I think that people who do great remixes are good at arranging songs. So I prefer my songs to be remixed.

Martin Solveig witj Alma for the hit-single «All Stars» (2017) On The Move: Speaking of your songs being remixed, there were a lot of remixes for “My Love” Martin Solveig: Yes and I’m very grateful for that. There was Kölsch who is a big electro producer and I’m very proud he accepted to do it. There’s also this artist I love, Dillon Francis, who remixed the song. I was very spoiled on this one. I think it was a track with good foundations in terms of melody and lyrics but not mixed well-enough. I love my version of course but there was room for good remixes.

« Electro artists and any artists have a lot of room for growth with live music »

On The Move: Which artists do you like at the moment? Martin Solveig: I listen a lot to Angèle, she’s great. But there’s so many things I listen to. On The Move: What can we expect from you in 2019? Martin Solveig: A lot of things. I have many songs I’m currently working on. I don’t know if there’s gonna be an EP, album or just singles, we’ll see. I hope to release as many good things as possible.

INTERVIEW BY NAOUMIE BENATTAR AND PAM CHARBIT, FASHION DESIGN BY Marion Hassan ASSISTED BY Johanna Imbach, PHOTOS BY DAVID FITT EXCLUSIVELY FOR ON THE MOVE.

Martin Solveig’s latest release «My Love» (2018)

JEZ DIOR Jez Dior first entered the music scene in 2012 with «Candles». Now, six years later with a bevy of releases and opening on Chance the Rapper’s tour, Dior is ready to show what’s he’s really up to. The Los Angeles native took the time to dive a little deeper into his upcoming album and how things really got started.

n The Move: For those that don’t know you yet, how did you start making music? Jez Dior: Well, I started making music around 11 and 12 years old. When I first heard Eminem, that just changed everything for me and I was just so inspired and related to him so much. When I first heard Eminem, I instantly knew. On The Move: Which album? Jez Dior: Well actually, I was pretty late. My cousin gave me «The Eminem Show». Beforehand, I really just listened to rock ‘n’ roll and stuff that my parents were listening to. And I loved Blink-182 at the time. But when I heard Eminem, it basically just changed my life. So after I heard «The Eminem Show», I went back and listened to all his albums prior and just, yeah, just fell in love. On The Move: So what did you think of his new album «Kamikaze»? Jez Dior: There are parts that I loved and parts that I didn’t love so much. Obviously me being such a big Eminem fan, I always hope for like, I always hope to get the old Em, which never really seems to happen, but at least he wasn’t doing like all his crazy voices this time around. Kinda got back to the basics sort of, so it was nice to hear some of that.

« when I heard Eminem, it basically just changed my life » On The Move: You released a couple of singles simultaneously this year. Can you talk to me about the tactic of releasing most of the singles at the same time? Jez Dior: I think it just had been a minute since I put anything out. So for me to put those three songs out at one time was nice just to like showcase what I had been working on for the past year and to just show people that I haven’t been sitting around doing nothing, that I’m able to put out three songs at once. It’s kind of a new time for me. It showcases me singing more and that’s sort of something I haven’t done in the past. It’s like a revival for me and just to show I have been honing in on my skills, working hard and changing the sound up a little bit, you know?

On The Move: You talking about singing more, your song «Cocaine», is just like singing. Were you nervous before releasing it? Jez Dior: Very nervous. I mean, that’s one of my favorite songs that I’ve ever written or recorded in my life. To be able to put it out, I was very excited. It’s the first song I’ve ever released where I’m just singing and not rapping on it at all. So yeah, I definitely was nervous to hear the reaction to it but, yeah, everybody’s loved it so far. On The Move: Are you planning on releasing more songs like that? Jez Dior: Yeah! I have some other records on my album that are just singing and no rapping. Then I have some that are mixed and I have some where it’s just rapping. On The Move: What can you tell us about this new album that you are working on? Do you already have a title? Jez Dior: I have some titles that I’m thinking about, but nothing that’s for sure yet, so I don’t want to say anything yet. The new album, I see it as the opportunity to tell the story of the first 26 years of my life. So it’s really personal and near and dear to my heart. And there’s definitely something on there for everybody. It’s super eclectic and it’s got, you know, some rock elements, definitely hip hop, alternative. You know, it’s got something on there for everybody, so, I’m excited. On The Move: You have this new song, «Nobody Knows», featuring Jackson Guthy that you just released. And, so what can you tell us about it? Are you planning on releasing other collaborations in the future or just a body of work focused on your own sound? Jez Dior: I think initially for this album, like I said it is my story, so I was very picky with who’s on it. So mainly it’s just my friends and people that are close to me who know my story. Jack is actually on another song on the album. «Nobody Knows» came together really organically. It’s funny because my boy Chris, who produced the song, invited me over to Jackson’s house. And he was like, «I think you guys would really get along». We had never met before. But he was like, «you should just come over and hang». And within just meeting each other, after an hour and a half, we had the song done for like the first time, so it just happened so fast. We just vibed. The rest is history from there. That’s my boy.

On The Move: Is there a song you feel particularly connected to more than the others? Jez Dior: I think «Cocaine», just because the lyrics are very personal to me and it is a special song because I was so nervous to put it out and is the first song where I’m just singing on it. I think it’s sort of like a milestone song for me. I had to work to get towards that because, you know, I never was a singer before that song. I think that opened up a whole new realm of things for me. On The Move: And so we are going to break down your new tracks and you’re gonna tell us more about the inspirations behind it. So «Kiss You Good»? Jez Dior: Let’s do this! «Kiss You Good» is a song about the trials and tribulations of being in a relationship. I’d been in an on and off relationship for a long time. With my lifestyle, it’s definitely harder to keep up a relationship. So it’s just about that and wanting to be the best person you can be, but sometimes not being able to be. On The Move: You told us about «Cocaine» before. «Come and Go»? Jez Dior: «Come and Go» is basically just a song about my childhood and growing up with and without my dad because he left around the same time I heard «The Eminem Show». He left around when I was like 11 or 12, and so the song is about that and my relationship with him and kind of where we’re at today. On The Move: So has your relationship evolved? Jez Dior: Yeah, well I didn’t see him for almost 10 years and then now, we’re sort of in a place where we’re rekindling our relationship and it’s been a lot better now than it has been in the past.

god I can’t wait to play this song live». And then when I’m touring, I’m always like «This is so inspiring. I can’t wait to get back in the studio and make some new stuff to play live». So it’s always like give and take a little bit. I love them both. It’s kind of hard to decide. It’s just different. I think it’s nice to do half and half. It’s always nice to be touring. You can touch the cities and actually see the people who are playing your music all the time and meet the people who your music has inspired or influenced. That’s always fun. On The Move: if I follow you in the studio, what would your day and writing process look like? Jez Dior: Well it’s different depending on who I’m working with. But typically for this album I’ve been working with people that I’m really close with. Basically my brothers, my friends. I’ve been in with them. A typical day would be meet up with my dude Chris Wallace, who produced most of my album and just vibe and sort of talk. Talk about what’s going on in both of our lives. What’s going on in my life or what I feel like writing about that day. What kind of vibe I want. He’ll pick up his guitar. And we’ll sort of go from there. See where the guitar takes us and see where the beat goes. So we’ll lay down the beat and I’ll just start writing over whatever we’ve made that day.

« I never want to be put into a box » On The Move: You have a very eclectic sound and we cannot put your music in one box or genre. So where do those different inspirations come from?

On The Move: So what’s your favorite? Do you prefer recording or do you prefer touring?

Jez Dior: I think that you’re definitely right when you say that. I never want to be put into a box. I obviously still feel very inspired by the older Eminem stuff that helped me grow up through my life. But then stuff my parents used to listen to when I was younger, like Oasis is my favorite band. I listen to them every day and I listen to the Liam Gallagher solo stuff. I still listen to Blink-182, but then I also listen to Lil Baby and Gunna, all these new rappers. You know, Travis Scott. That sort of reflects my music. I still do listen to everything. I was listening to like The Story So Far album yesterday that my friend Brian was showing me. Just a bunch of different, random things. Like right now, I’ve been listening to Bradley Cooper from A Star is Born.

Jez Dior: Well it’s funny because when I’m recording and I’m in the studio, I always have the feeling like, «Oh

INTERVIEW BY PAM CHARBIT AND Haley Bosselman PHOTOS BY Jonathan Benbaruk EXCLUSIVELY FOR ON THE MOVE

On The Move: You finished a tour and you played at The Roxy here in Los Angeles. So how was it? Jez Dior: It was great, you know. Hometown. So being able to come home and play the last two days, ‘cause we had Santa Ana right after that. So being able to have the last two days at home is very nice and you get to sleep in your own bed at the end of the night, so that’s always nice after being gone for so long.

OUR BEST ALBUMS

OF NOVEMBER Every week of the year, a bunch of records are thrown into the world, portraying the singular influences, universes and sounds of artists. Do you get lost in the numerous releases? On The Move Mag is here to help. This month, as always, we opened our ears and dove into what matters most : music! Whatever genre suits you, youâ&#x20AC;&#x2122;ll find something new to discover... Here are our favourite albums released in November.

Want to travel back to the 80s? That’s exactly what Muse had in mind for us while creating their eighth album «Simulation Theory». Built for stadiums, this album also collects everything that makes Muse one of the greatest bands of our generation: Matt Bellamy’s powerful falsetto vocals, a rock-opera vibe and some heavy guitars runs. As a whole, it must be their most approachable work yet, 3 years after the politically driven «Drones». Like an uncanny hommage to the 80’s and George Michael, «Something Human» showcases nice acoustic guitars and a bit of a tropical vibe. Strange in their universe but still deeply mixed with their dark and peculiar mark. Looking back on the music videos, we can truly see the inspirations for this album: Stranger Things, Back To The Future, Thriller... They’re definitely aiming for a vintage vibe this time! Top 3 tracks: Something Human, Pressure, The Dark Side

Muse - Simulation Theory

Although it must be difficult to top “Malibu” released in 2016, Anderson. Paak proves his status as leading artist in the hip-hop scene with his third album “Oxnard”. Dr. Dre’s protégé has the advantage of exploring new sounds, thus bringing a wind of renewal and this record is not an exception to the rule: this record is a subtle mix of hiphop, jazz, soul, funk and rap. Anderson .Paak goes effortlessly from rapping to singing, creating a dynamic blending perfectly with the rhythm of the songs. While “Who R U?” is a drum-fused track, “6 Summers” plunges us in the artist’s imagination of what Donald Trump’s illegitimate daughter would be like with an old-school rap rhythm. The record obviously benefits from prestigious collaborations as “Mansa Musa” featuring no other than Dr. Dre (who also produced the album) or “Anywhere” featuring Snoop Dogg to name a few. “Oxnard” seems quite predictable but Anderson .Paak is just a work in progress already showing an undeniable talent. Top 3 tracks: Tints, Who R U?, Brother’s Keeper

Anderson .Paak – Oxnard We were not expecting it! Right after an impressive international tour, Imagine Dragons are back with a brand new album called «Origins» which appears to be like the little sister of «Evolve». Unlike its dark minimalist predecessor, this fourth album is more positive, as the band from Las Vegas describes it: «Evolve is like «where am I going, I know there’s color» and Origins is «this is where you’re going and it’s a great future» ». With some successful singles such as «Natural» or «Zero» which is part of the «Ralph Breaks The Internet»’s soundtrack, and«Born To Be Yours», a featuring with Kygo, this album was already promising. In addition to these tracks, we can once again discover committed lyrics questioning our society in «Machine», «Love» or «Digital» and very honest ballads such as «Bad Liar», the fourth single of «Origins». An album that could not be more eclectic. Indeed, Imagine Dragons stay true to their alternative signature while using country influences in «West Coast» or electro and dubstep sounds in «Bullet In A Gun» for example. As the holidays are getting closer, «Origins» seems like a very generous gift! Top 3 tracks : Zero, Bad Liar, Only

IMAGINE DRAGONS - ORIGINS

Almost a year after their fourth album «Glory Days», the Little Mix ladies are back with a brand new record : LM5. More mature and complex than the previous one, the four British singers wear high their ambitions and showcase some powerful girl power with 19 tracks, all more diverse than the others. Drifting away fom their bubblegum pop sound, Perrie, Jesy, Leigh-Anne and Jade choose RnB and hip-hop vibes, over soft and delicate love ballads. Growing as a girlband and with their fans, it was important for the girls to write about things they cared about such as body image, female empowerment and confidence. On the singular «Strip», this is the message they try to share with their community. Later on, «Wasabi» sounds like a big f*** you to their haters. Yes, they didn’t restrain themselves with this album and it’s probably why it sounds so powerful and mature. Top 3 tracks: Strip, The Cure, Woman’s World

LITTLE MIX - LM5

Three years after the success of «Know-It-All», Alessia Cara has now released «The Pains Of Growing», her second album. Just like the first opus of the talented Canadian, «The Pains Of Growing» contains honest and touching lyrics, humor and derision. The young artist created this second project while facing issues and doubt. Now, she hopes people will be able to find comfort in the fifteen songs that constitute «The Pains Of Growing». The album relies on the idea that growing up is not that easy but things will get better: «Remember, there is no form of pain we cannot grow from or out of. You’ve gone through it and you’re still here. That is truly something to celebrate». No matter how old you are, you will relate to Alessia Cara’s lyrics. She tackles the artificiality of our society («All We Know»), the pressure to fit in («Easier Said»), love issues («I Don’t Want To», «Out Of Love»), childhood fading away, adulting... Things everybody is confronted to. In brief, Alessia Cara’s is THE album to listen to when you feel like you are on your own against the difficulties of life because, guess what, you are not! Top 3 tracks : Growing Pains, 7 days, Out Of Love

ALESSIA CARA – THE PAINS OF GROWING

Six years ago, Rita Ora released her debut album «Ora». Since then, the young woman has gone through difficult times but they made her stronger. Despite hardships, she evolved and was really looking forward to releasing a new album. This has now been done with «Phoenix»! This project is like a true rebirth for her: «I feel like I’ve risen from a lot of nonsense, it’s my time and it’s a fresh start». In fact, «Phoenix» is the result of a long journey. Among the sixteen tracks of the album, which combine pop and dance, several were released in 2017 and early 2018. This is especially the case for «Your Song», «Anywhere», «Lonely Together» with Avicii and «For You» with Liam Payne. And, if you love Rita Ora’s warm and sensual voice, we can guarantee you won’t be disappointed by the brand new songs. From «Hell Of A Life» and its violins to «Falling To Pieces» and its trumpets, the album contains beautiful surprises and amazing collaborations featuring Julia Michaels, Rudimental, Charli XCX, Cardi B and Bebe Rexha. «Phoenix» was worth the wait! Top 3 tracks: Soul Survivor, Hell Of A Life, Girls (ft. Cardi B, Bebe Rexha, Charli XCX)

RITA ORA - PHOENIX

With “Wilder Minds” released in 2015, Mumford and Sons made a departure from their folk soundscape along with their signature acoustic instruments like banjo and upright bass which caused them a bit of anger from long-time fans. On “Delta”, acoustic and traditional Mumford and Sons harmonies are still very present while exploring a multitude of sounds and rhythms during the fourteen tracks of the album. We find the same basic pattern, namely songs starting very calmly then accelerating and exploding towards the end of it. Yes this can get repetitive at the end but it also adds a powerful depth to the songs according to us, it feels like in a highly-emotional movie. Speaking of emotions, “Delta” is much darker than previous records as it addresses topics such as divorce, depression or even death. This record might not please everyone but it surely shows the band’s effort to get out of their comfort zone. Top 3 tracks : 42, Beloved, Rose of Sharon

Mumford and Sons – Delta

As usual, Clean Bandit’s numerous collaborations never disappoint! The band released their first album four years ago but « What Is Love ? » was worth the wait. They definitely knew how to make our mouth water releasing six singles through the years, from the lead one, « Tears », featuring Louisa Johnson to the sixth one, « Baby », with Luis Fonsi and Marina. The title of the album perfectly represents the 16 tracks dealing with different types of relationships : from motherhood in « Rockabye », childhood in « We Were Just Kids » to love and heartbreak in « I Miss You », which was written by Julia Michaels and is, according to Grace Chatto, « a simple song, about the unbelievable pain of breaking up with someone you love ». Once again, « What Is Love ? » demonstrates their capacity to create effective electronic pop songs while adding some extra touches. We can thus hear oriental vibes in « Mama » featuring Ellie Goulding and « Out At Night » sounds like a latino version of George Michael’s « Careless Whisper ». With artists like Demi Lovato, Rita Ora, Craig David, Anne Marie, Charli XCX or Zara Larsson, you just can’t miss it ! Top 3 tracks : Solo, Mama, We Were Just Kids

clean bandit - what is love

OLIVIA GRACE Get ready for Olivia Grace! Freshly arrived in Los Angeles, this new indie-pop artist will blow your mind away thanks to her relatable lyrics and smooth voice. After releasing a couple of singles, sheâ&#x20AC;&#x2122;s now ready to take over the world in 2019. Letâ&#x20AC;&#x2122;s sit for a second and dive into her world.

n The Move: Hi Olivia! We’re happy to meet you. Can you tell us a bit about how you got into music? Olivia Grace: I’ve been playing music since I was 8 years old. I got a keyboard as a gift from my parents. And then from there, it just took over and has become my life in a way. When I was very little, I remember seeing a movie where this girl would go to the Juilliard School and I was like « I’m gonna go there! ». I was only 10 and I didn’t even know at what time you were supposed to look for colleges and stuff. I didn’t actually go but it inspired me to want to study music. And now, I feel really lucky to be in L.A. and to pursue my career here because a lot of people don’t quite have this luck so that’s something I’m grateful for and proud of. On The Move: Why choosing L.A? Olivia Grace: So I went to school in Chicago and then I moved to New-York, and I was only there for a year but I wasn’t happy there. I had been visiting L.A doing a few writing trips, I came for an event in April last year and I kind of fall in love with the people that I was meeting, the music scene. So it just felt like the most natural move to me. It is just so easy to meet people from the music industry and reach out. They seem very welcoming. That’s what I love about L.A!

« QUIrky and intimate are the two words that come to my head to describe my sound » On The Move: How would you describe your own sound? Olivia Grace: Quirky and intimate are the two words that come to my head. Introspective, kinda dreamy I guess. On The Move: « Safe » is the first song you released after settling in Los Angeles. Can you tell us the story behind it? Olivia Grace: So I wrote the song a while back, when I was at a very high point in a past relationship. So, that’s basically a love song but months and months went on and I didn’t get to actually record it until the relationship was over. So I really wanted to maintain that vibe I originally had when I wrote it but at the same

time, it became a lot darker and nostalgic for me. That’s kinda how the sound got to be the way it is. It’s dark but it has the lyrics « I am safe with you » so it is kind of a cinematic emotional journey. On The Move: And were you involved in the making of the music video? Olivia Grace: So, I produced it and I worked with two cinematographers on it. I just knew that the inspiration for the video would be this feeling of loneliness and intimacy, something introspective and narrative. So we went out to Joshua Tree and also to the San Bernardino Mountains which was very isolated and beautiful. So it was kind of perfect for this! On The Move: We can read online a lot of comparisons between you and Lana Del Rey. What do you think about it? Olivia Grace: You know, I’ve just started to welcome it. I love her and I think she is so inspiring but I hadn’t listened to her in a long time actually and now, I’ve gone back to her music. At first, I thought that I had to be doing something that is a 100% me, that I couldn’t be compared to anybody. But then, I realised that’s just a freaking huge compliment! On The Move: And it’s a thing, people and medias will always be establishing comparisons between artists, newcomers and confirmed ones… Olivia Grace: Yes, and I’m definitely very flattered! It could be way worse (laughs) I used to be so obsessed with her in highschool. And now I guess I’m gettin back into her so yeah, I welcome it! On The Move: Coming back to your own material, what is your writing process? Olivia Grace: The writing process for every song is really different. For « Safe », I worked with a co-writer Josh Wood. I’ve done writing sessions before but this is the first time for my own artist project that I co-wrote a song before getting to the production part of it. Josh went for part of the song and then I produced it with Dave Burris and so starting the song, I was just lying in the park and heard a melody in my head and I wrote a couple lines, the first verse and I brought it to Josh and it became what it is now. But honestly, every song is so different. Sometimes it’s just me lying in bed and

hearing melodies in my head or I go to a piano and start playing rough chords. Other times, I might be doing a co-writing session, someone would be playing around some production and we come up with something that I never would have on my own. On The Move: Do you always write from experiences or sometimes, you put yourself in someone else’s shoes? Olivia Grace: I’ve been asked that a couple of times before and at first, I used to say that I love writing about other characters as well, kind of making up stories… I do have some songs where I see no comparisons to myself but lately, I’ve been looking back to songs that I thought were about something I made up or just like creating characters and I realize « Wait a second!»… So I think that I do create stories if you will, but they always come back to my life in some ways. On The Move: You’ve just released a new single. What’s its name and what can you tell us about it ? Olivia Grace: It’s called « Higher Ground ». When I wrote the song, I made the decision to put myself first. I felt like in the relationship at that moment, I was making myself smaller to lift him up. It just didn’t feel healthy, so it was a very difficult decision but « Higher Ground » was very cathartic for me. And just getting the motions out and moving forward with my life was the decision that I made. On The Move: Now you are totally independent, doing everything by yourself. What do you think are the biggest challenges at this point? Olivia Grace: My music comes first but I’m also trying to think of everything I’m doing, all the different aspects of it. More strategic points in a way: releasing the songs, booking shows and having people to actually hear the songs. There’s also the creation of the artwork. Finding people to help me make the music video, cowriters… Just like everything. It can feel like a lot but yeah, all the different aspects, I’m trying to do it on my own. It feels very rewarding. I would love to have a team behind me but I’m just trying to find those people… On The Move: Are you planning on releasing an EP or a full project anytime soon? Olivia Grace: A 100%, I would love to release an EP or an album at some point. But for now, I’m just releasing singles and once I do have more of a team around me,

I would release an EP to help push it. But right now, it is just singles. It’s also a way to keep movement going. And also, for me, as soon as a song is done, I just want to put it out like right away. So, waiting and waiting for all the songs… I definitely do want to release an EP at some point but I’m too excited just to put it out. On The Move: Do you have any dream collaborations? Olivia Grace: I don’t even know where to start with this. I love James Blake’s production. I would love to do something with him. I just feel like his songs are so beautiful. That’s always the first name that comes to my head. I don’t even know right now, there are so many artists!

« I do create stories FOR CERTAIN SONGS but they always come back to my life in some ways » On The Move: Do you have any shows planned? Olivia Grace: I played a few different venues around L.A. I am working on scheduling a few shows right now. I think I might have something mid-December but I’m still waiting to confirm it. Otherwise, it will be probably January. But I’m trying to play at least, once a month or every two months or so. I would love to play School Night at some point. I feel like it might be a little early for me. Right now, when I play live, it is just me and a piano. But it’s definitely on my list of goals to have people behind me and have the production of my songs live. On The Move: Which artists are you listening to right now? Olivia Grace: Claire Laffut, the French artist I was talking about. I am kind of obsessed. She just released her EP. She had one song for like the longest time. I love her! Daniel Caesar, I love his music. Millie Turner also. H.E.R. is really cool too!

INTERVIEW BY Pam Charbit AND CORALINE BLAISE PHOTOS BY Jonathan Benbaruk EXCLUSIVELY FOR ON THE MOVE

YOSHI FLOWER After a little help from Elohim, it wasnâ&#x20AC;&#x2122;t long before Yoshi Flower began making his own stake in the EDM scene. In October, he released his debut mixtape, American Raver, a compilation of his interest in hip hop, EDM and indie rock. He took the time to talk about America as a rave, Bruce Springsteen and building character through bullies.

n The Move: Hi Yoshi! We’re happy to have you today! For those who do not know you yet, could you tell us how you started making music? Yoshi Flower: Thank you for being here! I started music by listening to music. As a kid, I heard Jimi Hendrix and the Experience Greatest Hits… I was like 8 years old and I felt so high and I was like “Holy shizz, this is crazy.” And then I played guitar and like sang in my bedroom for years and didn’t really show anybody. And then, I figured out it was just a way that I could be honest and that like, if you tell someone what you honestly feel in real life, like IRL, they’ll be like, “Oh shit, like are you OK?” But if you like do it in a song, they’ll just be like, “oh, that song’s tight.” And so, yeah it just became something I could make friends with…. I just kept making music and I don’t really know how it started to be something that I get to live off of. On The Move: So it’s not something you wanted to do from the very beginning? Yoshi Flower: I mean I always knew that I wanted to make music. I didn’t know I could do it as a job. It still doesn’t feel like a job. Ever. My mom is a singer. She was a background singer and actress in New York in the 70s. And my dad helped local bands who couldn’t afford legal counsel, he’s a lawyer, so he always helped people. Like, this guitar I got because there was a band who needed a contract to be looked at and my dad helped them and they didn’t have any money to pay him so they gave him that guitar. And I had it for years and I couldn’t play a lick, I was so shitty. And my dad wouldn’t even want me to play it because he was like, “You’ll fuck it up.” And so I got good so I could play that guitar ‘cause it’s so cool. It’s like one of one. I’m from Detroit so I didn’t really ever tell anyone like, “I’m about to be so massive. I’m about to play arenas,” or else people would be like, “Yo, shut the fuck up. Why are you so extra?” On The Move: How’s the music scene in Detroit? Yoshi Flower: It’s really good. I’m going back there tomorrow. I’m going to see Danny Brown and it’s great. It makes for amazing… It’s a place where you can experiment, but people are very honest with how you experiment. They’ll always give you a chance, but if it’s really good, you’ll get a lot of support and if it’s really bad, people will tell you. It’s such a free space that it’s even free for honesty. Like motherfuckers will be like, “Yo, that shit is trash. You need to go home and not play shows and figure your shit out.”

On The Move: That’s good to have, like, an honest opinion. Yoshi Flower: Yeah! And it’s such an influential place. It’s incredible. It’s a wasteland paradise. On The Move: And how do you feel about the LA scene? Yoshi Flower: I enjoy it. I think there’s probably a lot of scenes. I feel like, I don’t really fit in much. But, I have a lot of gratitude for music so I think when I hang out with people it’s a good time and it’s a good collaborative experience, but I don’t know. I don’t know what it’s like to be a part of the scene here.

« America is built upon fundamentally beautiful concepts and ideas: freedom, equality, freedom of expression, creativity, belief » On The Move: The more you stay, the more you get used to it. Yoshi Flower: Yeah, I think it could be good if people are pushing each other to be as good as they can be. I don’t know. I don’t like cliques and shit. I mean, I kind of keep to myself, but I don’t feel like I fit into anyone’s scene in LA, but I like it and I love it. I’m grateful to be here, but I definitely don’t, I don’t know… On The Move: How would you describe your mixtape, American Raver? Yoshi Flower: I would describe it as “I pledge allegiance to the rave of the United States of America and to the machine for which I dance. One lover, under control, invisible, with liberty and justice for song.” On The Move: The cover of this mixtape is pretty much the cover of Bruce Springsteen’s Born in the U.S.A. Did you notice it? Yoshi Flower: Oh shit, it is? On The Move: It really is!

Yoshi Flower: I don’t know. I don’t know if legally I’m allowed… I’m just like, oh shit, really! But, if Bruce Springsteen was a voice for observing America, observing modernity in his snapshot of time, then I want it to be another voice for that, to show that being gay is just or is just as American as rocking blue jeans. And that taking drugs is as American as wearing a baseball hat, pretty sure he’s had a baseball hat. I don’t even really listen to Bruce Springsteen like that, but I know he works really hard and tries to be genuine and he gives unto himself to his fans, and I think that’s really cool. He’s built a crazy community around his music and I didn’t really have any lofty aspirations as far as trying to be like Bruce Springsteen or anything, but I definitely respect and admire his approach and his tone. And yeah, American Raver. On The Move: So you didn’t know it was similar. Yoshi Flower: No! (laugh) Bruce Springsteen and Yoshi Flower, like I don’t know! There might be a lot of similarities there. Personally, I like it. I mean, I definitely, you know Bruce if you ever read this and you wanna sue me, I do have a lawyer. It’s probably not as good as his lawyer, but you know, hit my line. Let’s collab, really is all I can say about Bruce Springsteen, like I’m trying to link up and collab.

« Everything is fine when things are going good, but you see the character of a relationship when things really are fucked » On The Move: As you said, talking about America and a different part of America, each and everything. So what do you think about America right now? Not just with music but in general. Yoshi Flower: I think that just like a rave, America is built upon fundamentally beautiful concepts and ideas: freedom, equality, freedom of expression, creativity, belief. It reminds you of people throwing a rave. There like, “Yo, let’s all come together and create a collective as individuals and support everybody’s truest expression.” I think that’s a really cool concept that America has. It’s just like a rave. You pull up, where you’re born in America or you move here or you visit and you can quickly see that the set up is a bit warped and stacked

to make citizens, or if dancers at a rave, have to fit the mold of scripts that have been written before we were even alive and they might clash with our truest self. And, you know, just like at a rave, people take drugs to keep on dancing, it’s just like in America people make money or have a house or find love or find ways to fill the void to like combat that crippling pressure to fit into American idealism. So I think the question becomes like, “Do we leave the rave? Do we descent America? Do we go home,” so to speak, or do we figure out a way to all come together and reapply the beautiful fundamental ideas that built America? I think that’s like an everyday question for anyone who lives and was raised here. There’s a thousand different approaches. You could say, “Fuck it. I’m about to just get rich and get a fuckin’ foreign car and a house and try and be happy on my own accord.” You could say, you could devote your life to activism, be selfless and try and help others or you figure out a way to land in the middle of those two things and just like not smoke yourself and just keep trying to find happiness and give others happiness. As a musician, I wanted to just be a vessel for commentary on my own experience because I come from Detroit. I come from a place in the middle where it’s like, two miles south is the gutter, two miles north is like the figurehead of opulence and Americanism. I think, just as humans, there’s a lot of ruminating questions inside of us all and it’s like, we do what we can to figure out how to live with those unanswered questions. And we just figure out how to be. And America is fucked and it’s beautiful and a lot of the greatest things in history are like that. On The Move: You recently collaborated with Quinn XCII for “Werewolf ” so how did this collaboration happen? Yoshi Flower: When I first came to Los Angeles, I had nothing and he had me play guitar for him and his live show. And that was a really great… like nobody was going out of there way to help me, not that I would expect them to, but he was the first person who like believed in me and shit. Shortly after Elohim took me into her house, but that’s a whole other thing. But Quinn, we were just hanging out and he was like, “Let’s write this song.” I was actually about to leave and I was like, “Yo, I’m gonna leave. Love you guys, I’m about to be out.” And he was like, “Dude just do something on the mic really, like please.” And I was like, “Ok, cool.” And so I did one take freestyle, off the top of my head. One take. Like just did it once. And then, it was still recording, and I was like, “Ahaa I’m about to be out.” And I left and didn’t even listen to it. And then a couple months later, he hit me up and was like, “Yo, we should put that song out we did.” And I was like, “What song?”

He was like, “Werewolf.” And was like, “Oh shit!” And he sent it to me and I was like, “Oh, cool” But I didn’t change any of it, it was just like *snaps.* And they were all like, “Yo that was tight. Do you want to re-record any of that?” I’m like, “Nah, haha bye!” And you can hear it in the… they cut it off in the final record, but, it was just spontaneous, you know? He’s a really like pro. Like he walks in and he just does it, and then leaves. He’s just a fucking pro. I don’t how to explain him other than that. On The Move: You released a video for your song, “Just Because We’re Paranoid Doesn’t Mean They’re Not Onto Us.” So what can you tell us about the filming of this video? Yoshi Flower: It was very high energy. It was very… It was a new experience. I had never done anything like that ever. There are elements of danger and love, and that’s always the dopest shit. So that was really it. You know, we just pulled up in the desert, got a bunch of friends together that had cameras. It was crazy. On The Move: What inspired the lyrics of the song? Yoshi Flower: That song was inspired by a period of time where I was just convinced that I was losing my mind. But, the person that I was closest to stayed and supported me through the experience, and in the end of it, I was like, “Holy shit. That was so intense, like I could never explain how grateful I am for someone to stick through.” Everything is fine when things are going good, but you see the character of a relationship when things really are fucked and so that was kind of how that song came about.

I went back to Detroit. And I was at a party and I see this dude and I was like, “Oh fuck.” And he came up to me and was like “Yo man, I’m like really sorry for all that shit.” Half of me was like pissing my pants because I thought he was gonna beat me up. The other half was like, “I’m gonna fuck this dude up.” And then he came up… and he was like, “Yo man, I’m really sorry about, you know, school.” And I was like, “Woah. It’s cool. I got a house and shit. And like, I buy fresh flowers all the time and have gold chains and shit. So, I’m good bro. I’m sorry to you bro because you have to fuckin’ live with that shit.” On The Move: That’s a funny story. And so you’re coming on tour in February. What can we expect from yout shows? Yoshi Flower: A full experience. An immersive experience. I’m gonna be performing American Rave in its entirety. Really all I can say is that it’s gonna be something special, something unique or else we wouldn’t even go and do it because it’s like, there’s so much shit out there. I don’t need to contribute unless it’s like full, full nutsuck, as they say. That’s what my brother says. On The Move: Are you looking forward to it? Yoshi Flower: Yeah! I’m really nervous, but at the same time, like every time I go and play a show, I meet kids and it makes it worth it.

INTERVIEW BY Pam Charbit & Haley Bosselman PHOTOS BY Nicole Thomas EXCLUSIVELY FOR ON THE MOVE

On The Move: You also have the song “Brown Paper Bag.” You talk about bullies, so does it come from personal experience? Yoshi Flower: Uh yeah, I mean I have red hair and I was really pale and wore like very questionable clothing, very tight pants. I mean, I got my ass beat a couple of times, but I was just like, “Fuck it. It builds character.” Everybody has their own experience in their adolescence that they always look back on and be like, “Woah. That was crazy.” Whether it’s for the good or the bad, it always forms you in some way. I’m just like fuck it bro. There’s this one dude who used to fuck me up and then when I was like 18 and he was 19, a couple of years ago, it was like recently before I moved to L.A. And I played a show, I was playing guitar at a college show, and this dude was throwing change at me still. And I was like, “Yo, fuck it. I’m about to pick up all that change of the stage. This guy’s so stupid. And then when I put music out recently,

Yoshi Flower’s mixtape «American Raver» (2018)

ARE THEY WORTH

SEEING LIVE ?

TAMINO L

ight and shadows, heights and depths, bliss and pain: let us tell you a story of contrasts, the story of our night with Tamino at Le Café de la Danse. The Belgo-Egyptian singer-songwriter -which debut album «Amir» is currently enchanting Europe- is performing his third show in a Parisian venue this year. Still, this is the first time we get to see him headlining a show and we were warned by some fans: there is every chance we are going to be delighted by this gig. Tamino hit the stage, his slender silhouette and loose outfits already evoking some enigmatic figures from the Desert. Accompanied by Vik Hardy (keys) and Ruben Van Houtte (drums), Tamino starts with «Persephone». All the ingredients of the night can already be felt here, before blossoming in every following song: soft guitar chords tinged with an oriental tone, a mesmerizing vocal pallet, melancholic lyrics and a boiling yet chaste intensity. With «Sun May Shine» and its spellbinding chorus, a boulevard towards oriental horizons opens in front of us. A deep dive into a culture we don’t know much, but which we’re more than willing to discover through and with Tamino. «Cigar» is more of a modern ballad, secreting the power of rock and allowing us to hear all the depths of Tamino’s voice. A warm atmosphere - given by orange subtle lights - then spreads in the room when the first notes of «Each Time» hits. Vocally, it is all so flawless you can be amazed -but not really surprised- by Tamino’s performance. Musically is where all the difference lies from the studio version. The band doesn’t hesitate to extend the melody and turns it into one lingering and amazing experience - far from radio’s generic formats. The line «Let me feel the thrill of it / Each time again» sounds terribly accurate. Eerier, «Reverse» sounds like an incantation: a battle

WORDS AND PHOTO BY CORALINE BLAISE

Live from Paris, France between bright and dark forces. Back in oriental territories, «So It Goes» is a work of balance. While the verses are quite minimalist, the richness of the melody envelops us on the bridges and choruses. Another change of guitar (among numerous and varied ones) and here comes the solar and perfect lullaby : «Verses». Some shy voices eventually raise from the crowd to sing along with Tamino on the intense «Tummy». For the whole night, there is still something religious in the way the crowd respects the silence of the room, hung on every of Tamino’s words. Indeed, he doesn’t share much verbally with his public... but the music says it all. When he does speak, the words are so carefully chosen in French that you know he measures and means them all, saying «C’est fantastique d’être ici» (This is fantastic to be here) or «Ça signifie beaucoup pour nous, merci beaucoup» (It means a lot to us, thank you so much!) with a rare yet sincere and selfless smile. After the feverish «Chambers» comes one awaited track: «Indigo Night». The venue goes blue and we’re all caught up in a flight of lyricism. There, Tamino’s charm fully operates. When the music fades away, the crowd breaks into one wild round of applause, that will last for a couple of minutes. The artist shyly thanks his public - and progressively radiates with gratitude. The boiling atmosphere certainly doesn’t decrease with the urgency of «w.o.t.h», brilliant hybrid track blowing up on its final bridge. And then the magnetism hits its peek in «Habibi» - the artist’s hit-single and most brilliant demonstration of his vocals habilities. A moment of grace we wouldn’t want to hear ending. Thanks God, Tamino graces us with a proper encore, coming back solo to tackle one Lana Del Rey’s cover: «Mariners Apartment Complex». Eventually, it is time for goodbyes, the gifted singer-songwriter and musician leaving us with (an immovable) «Smile». Merci Tamino!

SAM FENDER H

ot! is the first word that came to our minds while entering the Pop Up du Label in Paris on this cold November night. The guys from British band APRE were warming up the crowd with such energy, you could believe they were the actual opening act. Too bad we were late this time, they were gone before we even had time to fully measure their talents. But they settled it all well for the 22 year-old British sensation Sam Fender... Even if his vocals and musical skills are undeniable, his true talent lies in his songwriting. While a lot of his fellow musicians draw inspiration from love (and its setbacks), Fender pens raw lyrics that adresses crucial society matters: from government surveillance and fake news to bullying and suicide. His uncompromising anthems had caught our attention for several months now but little did we know that night that he was going to win the 2019 BRIT Awards Critics’ Choice Award a few weeks later, facing Mahalia et Lewis Capaldi. Seems like we bet on the right rising star! The set opens on «Millennial»: an ode to the generation he belongs to, filled with urgency and heavy guitars. He shouts «I’m a millennial / I’m young and dumb». Actually a very clever and bold introduction! With no form of transition, he carries on with the powerful «Will We Talk In The Morning». It turns out those two songs were played without his earplugs, which he forgot to put on before the show. «A nightmare» he says laughing, thanking his manager for saving him from this situation. Actually, we didn’t notice a thing... Talent speaks with or without the right equipment! Let’s «Start Again» then, with the earplugs on! The verses are highly catchy before turning into a vibrant and sharp chorus. «Let’s start again / Before time is running down»: a call that resonates with many of the issues our world is facing now, and particularly the climate urgency. Part apocalyptic, part hopeful... Sam Fender’s music is ambivalent, bluntly honest but never defeatist. And we love it! «All Is On My Side» brings a lighter note, with a more pop vibe before «Dead Boys» tackles a truly deep and taboo subject: toxic masculinity standards and

WORDS AND PHOTO BY CORALINE BLAISE

Live from Paris, France the consequences it can have on boys’ mental health - sometimes sadly resulting in suicides. A brave message adressed on a vigorous melody, necessarily tinged with vulnerability and pain: one of our favourites. The young artist also points at this ‘toxic masculinity’ - but in a more frivoulous way- on «Friday Fighting», depicting a bar brawl. The rock energy is getting even stronger on «That Sound» : an angry anthem about how music has always kept him afloat. «Every night I beg that sound / It’s the greatest revelation / It’s the only thing that keeps me grounded / I need to hear that sound». The triumphant and punchy «Greasy Spoon» is next. A take on everyday sexism where Fender tries to put himself in women’s shoes -or at least comprehend what women can go through on a daily basis: «I am a woman / I am your mother / I am your sister / I am your daughter». There is not a contemporary issue Sam Fender can’t tackle with subtlety, elegance and determination! Eventually comes the single that brought him under the spotlights: «Play God». Fender explains «We recorded it in a shed and now we’re here. You don’t need a fucking expensive studio to record a great tune -even though I want one now!» The energy goes crescendo. It seems like the last burst of energy for the night as «Leave Fast» then takes place, with Fender solo on his guitar. The soulful ballad is like an ambiguous and bitter-sweet love letter towards his hometown: «An old man told me to leave fast or stay forever». As far as we’re concerned, this venue feels a bit like home and we’re not willing to leave just yet! Thankfully, Sam Fender isn’t either. «I was gonna leave for a minute and have you cheer so that I can return for an encore but there is no backstage here so let’s do this right away!». And here we are, embarking one last time with Sam Fender on «Use» and «Dancing in the Dark», a beautiful rendition of Bruce Springsteen’s classic. Talented, mature, funny, thankful and committed: Sam Fender has it all to last. We can’t wait to see what the future holds!

WHAT’S UP

IN FRANCE ? MB14, The man of a thousand voices His mouth and his loop station are all MB14 needs to practice the art of music. Indeed, everything really started in 2016, when he impressed the judges of The Voice France thanks to this intriguing musical instrument and the versatility of his voice. During the competition, the French prodigy especially confirmed that he belonged in the spotlight by interpreting Queen’s legendary «Bohemian Rhapsody» on his own. Acapella and beatbox hold no secrets for him. In fact, alongside three friends known as Beatness, Rythmind and Wawad, the artist released an EP, went on tour and participated in beatbox championships in several countries. The group – named Berywam – even won the beatbox battle world championship in crew category in 2018! Today, MB14 is not part of the band anymore but he is beginning a beautiful solo career. The French prodigy effectively released his first EP «Ambitus» on November 19th, which is the anniversary date of his blind audition. What a beautiful celebration! As a self-taught artist, he is now proudly presenting his music videos saying: «All the sounds you can hear in this video come from my mouth».

Composed of seven tracks, «Ambitus» contains two songs in French and five in English. In all of them, MB14 opens up in powerful lyrics, relating his story and how he felt throughout his journey as an artist. As for the music itself, the young man really makes you forget the absence of musical instruments. We can guarantee you will move to the beat of «Go Down»and have the impression that you are listening to real brass instruments in «One More Song». Join the MB14 experience and you will see!

WORDS by LÉNAELLE FONTAINE

Donamaria, When talent and passion collide

« Share. Convince. Exist. » These are the words Donamaria uses to describe her passion for music. What was once a dream slowly became a reality through hard work and ambition, with a bit of help from a huge community of family, friends and fans. Everything started with a meeting. Two musical souls crashing into each other, understanding the hopes and dreams of the other and working their magic together. She was writing songs, he was making music. As one, they crafted this peculiar universe, bringing to life the wilderness of her universe and giving freedom to her lyrics. Through her music, the young artist aims to reconnect with something raw and intimately sensual with her melancholic yet powerful voice. Inspired by the sensitivity of some of the greatest French songs, She simply makes her way through metaphors and dreamy-like melodies. Bringing a breath of fresh air to her work, she, along with her partner, subtly mixes the current electro-pop vibe to the poetry of a soft piano. Last year Donamaria launched her first online campaign in order to produce her first EP, « Eclipse». Earlier this month, she released the five-track record, putting upfront her universe and powerful melodies. Written in both French and English, She manages to pick and carry us on a musical journey. An unforgettable experience so dive in and enjoy Donamaria.

OTM TEAM founder, editorial director I spend most of my time apologizing to my favorite streaming platform for ripping off their «add to playlist» button. When i’m not looking for new artists to talk to you about I drown myself in a sea containing a mix of old R&B and punk-rock sound. Sometimes I go to concert venues more often than I go to bed and I listen to music even when I sleep. I’ll be probably deaf in 40 years but knowing you’ll discover new artists through this mag makes everything worthwhile.

graphic designer, co-editorial director Writing about architecture and urban planning by day, writing about music by night. Getting the best of both worlds. I am in love with matter, melodies and words. Drunk with british indie-rock and pop-folk. I guess my wildest dream would be designing and building a gig venue, for which I would decide the opening line-up. In the meantime, I am the curly girl with too much hair, front row. If not at a gig , I’m probably spending the night building this magazine for you.

PAM

CORALINE

NAYANA

COLINE

writer I am working in communication and design. I always loved music but I never thought about writing about it. Now, it is part of my everyday life and I am loving it ! On my free time, if I am not at a gig , I am probably in a movie theater or talking too much about my new favorite T V Shows. You can always find me at festivals, failing desperatly to see everything. Also travelling is awesome but with well-crafted indie playlists, it’s better!

writer If it were possible, I would probably live in a concert venue! Gigs are, without any hesitation, the events I appreciate the most. Addicted to pop music, tattoos, Youtube, The Greatest Showman original soundtrack, TV shows and Disney movies, I always love to discover new artists and talk about them with my friends. Professionally speaking , my biggest dream would be to have a fashion or music-related job. I guess I just need art to be part of my life!

LéNAELLE

writer Meet the youngest of the crew ! A spiring music journalist and communication student, I spend most of my free time surrounded by books and hot chocolate. Basically obsessed with british pop music and indie artists, if you’re looking for me you’ll probably find me singing my heart out at a concert. if i could turn back time, i’d definitely pop to the Panic! At The Disco show in Chicago in 2008.

déborah

writer A few words about me? In the future I would love to work as a community manager or a web journalist but for now I am just an ordinary student who has always loved writing and wouldn’t consider living without music. I am quite shy in my everyday life but surprisingly become the most sociable person when attending concerts, which I could do every single day. Other than that, I love travelling, making videos, tattoos, cheesecake and think that a whole crowd singing is the most beautiful thing in the world!

LUDIVINE

writer Who am I, in a nutshell? I am a daydreamer, a traveler at heart, a concert addict and I see beauty in everything. Music is my escape route and my best friend. People say that have an eclectic taste in music which is true although you’ll see me mostly at rock shows. Fun fact: I actually own a guitar since I was 4 and I still don’t know how to play. I am also the girl that’s like «Hey you gotta listen to this!» and 2 hours later we’re still on YouTube... Oops!

HALEY

writer An aspiring entertainment reporter, I am constantly caught between covering the world of pop culture and reading about it. After graduating from Arizona State University’s Walter Cronkite School of Journalism and Mass Communication, I moved to Los Angeles to embed myself in the heart of the entertainment industry. If I’m not watching a movie, at a concert or reading the latest celebrity news article, I probably am at the beach.

ON THE MOVE SPREADING TALENTS AROUND SINCE 2012 @OTMfr

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ON THE MOVE MAG - DECEMBER 2018

Articles inside

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Olivia Grace

Martin Solveig