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On December 3rd 2011, 5 Seconds of Summer played their first gig, at The Annandale Hotel in their native Sydney, Australia. It was their first time together playing as a four-piece. They had to recruit a drummer for the occasion. They had a bass player with no bass guitar, “so I played on an acoustic,” says Calum. “Michael sent me a very detailed Facebook message asking me ‘how would you like to come along and play for 200 screaming fans,’” says the last part of the 5SOS jigsaw to slot into place, drummer Ashton. “I was like, woah, that sounds great, amazing, this guy sounds legit.” In the event, they delivered a covers set to twelve nodding acquaintances. But something happened that night in the Annandale. “We saw what we could be as a band,” says Luke. Just over two years later they have shaped up into the box-fresh pop/rock sound of 2014. The screaming starts here.
From that first night, they began to attack being in a band together with all the gusto of a military operation. Their musical influences converge around the adrenaline-fueled super-rock of turn of the millennium Americana. The first record to excite Luke ever was Good Charlotte’s debut album. “They were just so angry but in the best possible way,” he says. Ashton had two CDs that he would flit between on his discman at school, Green Day’s 21st Century Breakdown and The Living End’s White Noise. “I didn’t need anything else,” he says. Calum’s eureka moment was Green Day’s I Need You single (“just perfect. It made me think about everything differently”) and Michael was in thrall to All Time Low. “I used to cut between watching their live DVD and the extras where they were just hanging out, being a gang, getting to do what they loved doing together. I thought: I want that.”
Nevada presents his debut single ‘The Mack’. The huge, hook laden track features brand new vocals from Mark Morrison, who reprises ‘Return of the Mack’ – on the 20th anniversary of his original hit single. The track also features vocals from man-of-the-moment Fetty Wap.
Nevada, the 24 year old Stockholm-based songwriter, musician and producer, honed his songwriting skills in Nashville, Tennessee. After 2 years writing songs for other artists, he became influenced by the Chicago House movement as well as the Hip Hop/Trap scene and grew a passion for electronic music. From here he developed into a rare breed of electronic artist – one who writes and produces all his own material. Nevada takes elements from deep house, future and trap, along with his finely tuned songwriting skills to create a sound which is instantly accessible and refreshingly unique.
‘The Mack’ is a strong opening statement of things to come for this exciting new artist, who has already collaborated with the likes of the “House Every Weekend” star David Zowie. With a collection of massive tracks ready to unleash, the rise of Nevada starts now!
Nevada said: “I’m incredibly excited to reveal my first single. Working with two legends on ‘The Mack’ is an amazing way to start, and I know there is so much more to come.
Liam Payne has signed a major record contract with Capitol Records UK and will soon be going into the studio to work on his first solo album. The star, who has sold over 20 million albums as part of One Direction, has assembled a brand new management team around him, more details of which will be announced in due course.
Nick Raphael, President, Capitol Records UK said today: “Capitol Records UK are incredibly excited to be working with Liam. It’s not often you get the chance to sign such a talented and ambitious 22 year old who has already conquered the world.”
Liam said; “I’m really happy to have signed to such a prestigious label as Capitol Records UK. Capitol Records has an amazing history stretching right back before even Frank Sinatra and I’m really looking forward to becoming part of their story. One Direction will always be my family; I’m now excited to show what I can do as a solo artist.”
Anyone that has seen Sam touring and tearing medium sized venues to pieces with his lacerating grief ballad Lay Me Down will have spotted the more innate appeal of his artistry and its special potential to move at mass market. Sam is a big, softly spoken man who translates musically through the humility of his phrasing. ‘I write exactly as I speak,’ he notes. He was born in 1992 in the small Cambridgeshire satellite town Linton to a mother making significant waves in the financial industry and a househusband father who took over the day care of Sam and his two younger sisters. His mother, he says, is ‘amazing. There have been strong women in my life from a very young age. My great aunt was one of the first ever female bankers. You would never call my dad a weak man but it was always a female dominated family. The oestrogen is high, which played into my love of music.’
Sam met a new manager and the first person his new conspirator introduced him to was songwriter Jimmy Napes and collectively they worked together to write Lay Me Down. Jimmy in turn played it to emerging deep house act Disclosure. In his first speculative writing session with the brothers he felt a kinship. Together they wrote Latch, Sam’s first featured chart vocal and the beginnings of the epic Disclosure tale.
‘I’m a pop head. I always was. I never got carried away with what was cool at school like the other kids did,’ he says, of meeting them. ‘They’re amazing boys though and they pushed down so many barriers for me, they introduced me to D’Angelo, so much stuff which I now love. They introduced me to dance music. I’d listen to music with no vocals in it and think what is the point? But they schooled me through dance history. They understand it.’
Between smashing it on guest vocal performances, Sam was crafting his own unique songs. ‘I said to myself, I don’t want to have a genre. ‘I wanted to take a risk’. In the course of putting it together, Sam has worked with so many blue chip collaborative names: Fraser T Smith, Two Inch Punch, Eg White. But he has retained his sense of self. After his sublime debut EP entitled ‘Nirvana’, his first full release will be the albums big pop moment, Do It For The Love, a song that sounds like an instant, out of the box smash. But there is melancholia within. Centring on the subject on an unrequited love, it is duty bound to make the listener a little teary as it uplifts. ‘I think so. I’ve been talking about album titles and people are saying “oh but it’s too sad” but that’s what it’s about. I was sad and I wrote about being sad. Hopefully I’ll be happier soon and I’ll write about that.’
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