About me
I am a recent graduate of Falmouth University, where I studied Creative Advertising, specialising in copywriting.
Since graduating I have been freelancing as a music reviewer for UK Vibe, and am in the process of launching a new, independent magazine which will be available this year.
I am available immediately for full time work.
Projects
- UK Vibe Review, January 2018: Stephane Nisol - Trafic d'Influences There are moments on saxophonist Stephane Nisol’s Trafic d’Influences which could slide right into Jacques Tati’s final film. The last in the tetralogy of Monsieur Hulot outings, Trafic sees the bumbling protagonist transporting his innovative motorhome from Paris to an automobile show in Amsterdam. It’s a farcical affair, full of insights and car crashes that only long distance journeys can arouse. The album begins with the switching of a radio. You can almost see Monsieur Hulot, hat firmly on his head, tapping his pipe on the outside of his door whilst he flits to a station of his satisfaction. Happy, he puts the motorhome in gear and pulls off. The drumming in Lou Maë acts as a perfect representation of a sputtering engine, working hard to carry the heavy load of Monsieur Hulot’s holiday provisions. A bell rings two-thirds of the way through the song; a cyclist has been comically forced off the road, landing in a hedge. Unaware of the incident, Hulot drives on. The cyclist waves his fist. Track three, Magatte, and we’re really rolling; wheels smoothly go around. This is open road, not a care in the world music. Hulot looks out of the window at a passing van, the driver of which is relieving his nose of obstacles. Today, Hulot cannot be disgusted by such an action, he is enjoying the drive too much. Premier Jour De Printemps plays on. Some way into the journey, right at the point of the DJ selecting Elia as his next track, it begins to rain. Hulot passes a couple, huddled together, trying to escape the downpour. They left the house without a coat or umbrella; the forecast didn’t suggest rain. The windscreen wipers go back and forth. Finally, sunshine, happiness resumes. But, little does Hulot know, around the next few bends a farmer is having a hard time controlling his sheep. They are blocking the road, stumbling in time to La Panthère Bleue. Monsieur Hulot slams onto his breaks. A line of cars in waiting forms. The farmer looks exasperated, but eventually clears the road with Hulot’s help. He jumps back into the motorhome; the traffic is now moving steadily along. City roads morph into country lanes. Hulot relaxes, going right over a red light at a crossroad. Two oncoming vehicles collide, at the exact moment symbols crash in the title track, Trafic d’Influences. Again, our man Hulot doesn’t know of the carnage he has left. He drives on. Amsterdam is now on the signposts. On an unpopulated stretch of motorway, blue skies above, grass lands to the left and right, Monsieur Hulot’s mind drifts to the plains of the savanna. Gazelles run around his head. His air freshener is Parfum d’Afrique, it is also the standout track on the record. However, the reverie is short lived. Another turning, another jam. A lorry carrying multi-coloured rubber ducks has overturned. This time Hulot is far back in the line. He tries to remain patient, but can see the frustration of the people around him. Histoire Secrète plays to his sadness. Obstruction cleared, he sets off again. As he passes, the driver of the lorry asks him to roll down his window, which he does, and is handed a little rubber duck. He places it affectionately on the dashboard; the singer on Couleurs d’Automne serenades, saying ‘look into my eyes, and you will see, my love is still there.’ The song continues as Monsieur Hulot arrives in Amsterdam and finds the automobile show. He parks, steps out of the motorhome, and puts the little rubber duck in his jacket pocket. The last he hears before he closes the door, marking the end of his journey, is the contemplative Après Minuit. The radio continues to play. The battery of the motorhome runs flat. 3/5 This review featured on UK Vibe, January 2018.
- UK Vibe Review, December 2017: Khaled Kurbeh and Raman Khalaf Ensemble - Aphorisms A little way from the Brandenburg Gate, around the corner of Tiergarten Park, sits the majestic, golden structure of the Berliner Philharmonie, but one of the many concert halls in Berlin. This is a city where freedom of expression is lauded; there’s a richness and acceptance of culture unlike any other. Classical music is entrenched in its psyche. There’s little wonder Syrian duo Khaled Kurbeh and Raman Khalaf have decided to call Berlin home, releasing their debut EP on !K7 imprint Between Buttons. Henrick Schwartz, best known for high octane dance sets at techno event, helms the production and does not let his electro background over-shadow the traditional Syrian-sound. The result is a 25-minute poetic reverence to home. “The record was composed over the last two years and blurs the line between written music and improvised playing,” says Raman. Khaled adds that, “the pieces articulate our reflections on different topics such as solitude, absurdism and despair, all set to a fictional musical narrative, hence the title Aphorisms.” Despite this explanation of the fictional, it’s difficult not to see this as a soundtrack to the conflict. The opening track, Toska, begins with machinery-mimicking violins, their screech giving way to a footstep-like djemba beat by Moussa Coulibaly. Throughout the record light moments of hope, represented by Khalaf’s oud and Kurbeh’s jazz-flecked piano, give way to Tom Berkmann’s ominous basslines of doom. Penultimate number ‘Shamal’ is a respite-offering, groove-laden jam of hand-claps and rousing vocals. Aphorisms closes with the retrospective Einsamkeit Impromptu; piano centre stage, a composition straight from the concert halls of Berlin. A recent photo of Bashar al-Assad embracing Vladimir Putin encroached the National newspapers, accompanied with the caption of ‘thank you for saving our country.’ As with most conflicts, the press focus on the toil of the people and the supposed successes of the armed forces, rather than the good that’s happening from the people affected. The success of Syria’s future does not depend on the marksmanship of a soldier, but the skill of musicians like Khaled Kurbeh and Raman Khalef, Omar Souleyman’s dance beats, or the absurdist paintings of Houmam al-Sayed. It lies with the people that continue to create and give Syrians a sense of identity instead of being collectively labelled as ‘refugee.’ This review featured on UK Vibe, December 2017.
- UK Vibe Review, November 2017: TootArd – Laissez Passer There aren’t many bands which can pull off being named after a fruit. Mountain Rock Reggae band TootArd wear their strawberry moniker well, not physically of course. Their second album was released on November 10th, six years after 2011’s debut Nuri Andaburi. It’s a mash up of genres well worth the wait, border-hopping across West African and Saharan grooves, then leaping to the sun spattered coasts of the Caribbean. TootArd come from Majdal Shams, an Israeli-occupied mountain-side village in the Syrian region of Golan Heights. This area has long-been contested over by Israeli and Syrian forces due to its strategic importance, the high elevation giving Israeli forces unimpeded views to monitor Syrian movements. Southern Syria and the capital, Damascus, are clearly visible from the top of the Heights. It’s not all doom and gloom, however. The event of the internet reaching Madjal Shams caused a proliferation of creativity within the town, transforming it into a hot-bed of counter-culture. Brothers Hasan and Rami Nakhleh were affected by the artistic boom. Both were raised on Classical Arab music, with Hasan studying Oriental Violin. After listening to Bob Marley, and becoming briefly obsessed with Tupac, they discovered Miles Davis, completely transforming their musical direction. Banding together with guitarist Shady Awidat, saxophonist Amr Mdah, and Yezan Abrahim on bass, TootArd was formed. Although they live in Israeli territory, TootArd’s laissez-passer’s, travel documents issued by national governments, state their identities as ‘undefined.’ Contrary to what their documentation may say, their music is far from indistinctive. On Laissez Passer, societal issues are tackled with upbeat passion, joy being the vehicle of their message, much like how Mbaqanga carried messages of conflict in South African township Soweto. The album’s marriage of genre represents TootArd’s belief that borders should be non-existent, and universality celebrated. On the title track, Hassan Nakhleh sings ‘No nationality, no borders, if you ask me, I’m an oud player.’ Statements such as this run throughout Laissez Passer, accompanied with a Tuareg inspired groove, or dub guitar. It makes for an interesting listen, with many unexpected time signatures and break downs. If you don’t like reggae, there’s enough of a feel of the traditional to provide cover. This is a thought-provoking record which makes you want to bob your head and shake your hips. Can’t ask for more than that. 4/5 This review featured on Uk Vibe, November 2017.
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Work history
U
U
Staff WriterUKVibe.org
Birmingham, United KingdomFreelance
Reviewer for online music publication UK VIBE, writing about everything from afro-beat to psychotronic jazz.
CopywriterPaddle Logger
- Falmouth, United KingdomFreelance
Press release and web copy for Paddle Logger, a Stand Up Paddle Boarding tracking app and adventure brand.
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Skills
- Strategy
- Article Writing
- Creative Storytelling
Education
BA Hons: Creative: AdvertisingFalmouth University
- Falmouth, United Kingdom