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Interview

“Speaking out politically is not just the artist’s right; it is imperative” – interview with Lisa Marie Simmons

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For some people, music is a healing power, for some it is entertainment, and for others it is a life saving shelter. For Lisa Marie Simmons, music plays a role that encompasses all of the above. After a difficult childhood Simmons found solace in music and poetry which eventually led her on a path of art and exploration around the world. She finally settled in Italy where she leads two different ensembles , Hippe Tendencies and NoteSpeak, along with producer and songwriter Marco Cremaschini.

Simmons and Cremaschini released NoteSpeak 12 back in February, an eclectic mix of jazz, hip-hop beats, fusion and spoken word that grooves seamlessly throughout. Simmons’ work is always socially conscious she told me via email. Samia from their first NoteSpeak album was inspired by a documentary Simmons saw about the sad story of Samia Yusuf Omar. Simmons found the author of the book that the documentary was based on: Don’t Tell Me You’re Afraid by Giuseppe Catozzella. Simmons wanted to shine a light on the horrendous numbers of refugees lost to the sea every year, an end to life that she, if not for the luck of a birthplace, might have had to endure herself. Simmons went further in her research for the song and eventually made contact with Samia’s sister, who did make it across the Mediterranean, who gave her blessing for Simmons to share Samia’s story in song.

HK: What’s the backstory here?

LM: I grew up in the U.S., in Boulder, Colorado of the 70s and 80s – hippiedom and counterculture movements. Progressive yes in many ways, culturally diverse, not at all. I was adopted and raised by a Black father and a white mother and I found myself navigating the complexities of race and identity from a young age. My upbringing was marked by a blend of tension and creativity, as I sought refuge in words and music to escape the abuse in our household and the challenges of being a minority in a predominantly white community.

HK: Do you find yourself connected equally to both music and writing?

LM: Absolutely. Music and writing have always been intertwined in my life, serving as both a form of expression and activism. I’ve found solace and empowerment in both mediums. Whether through songs, essays, poems or stories, I strive to amplify marginalized voices and challenge societal norms.

HK: And perhaps an activist as well?

LM: Without a doubt. Activism is at the core of my identity and creative endeavors. I’ve been involved in various social movements throughout my life. My activism manifests through my art, as I use music and writing to advocate for change and do my best to inspire others to join the fight for justice.

My journey as a multi-disciplinary storyteller has been shaped by my experiences growing up as often the only Black person in the room. Through my art, I strive to challenge, among other issues, systemic racism, white supremacy and the patriarchy one song and one poem at a time.

HK: Have you always been concerned about the world around you, the politics of it all?

LM: Growing up in a predominantly white community, and the household I did, there was not much I could find that reflected me. In the town library, though, I found books by people like Alice Walker, James Baldwin and Maya Angelou that showed me another world and how the past informs the present; the institutional racism woven into the fabric of America from its inception. I was keenly aware of the injustices and inequalities that existed in my own home town which helped build empathy for those outside of my experience. I firmly believe that sharing our stories is the key to building compassion. From a young age, I found myself drawn to activism and social justice, whether it was participating in protests or in movements like streaking (Boulder in the 70s!).

Young Lisa Marie, painted by her adoptive mother (used with permission).

HK:  Has your music always been a tool and a voice for the oppressed or the voiceless, or was there a switch at one point?

LM: Music in general has always been a powerful tool for expressing and reflecting the issues of today. From my earliest encounters with literature and music, I was drawn to works that spoke truth to power and shed light on social injustices. I have tried since I began writing and composing to amplify the voices of those whose stories are not in the mainstream’s consciousness. I often use my own intimate and personal experiences to speak to larger issues. From the moment I witnessed the power of protest and expression as a child, I knew that music would be my medium for challenging the status quo. While my approach to activism and advocacy has evolved over the years, my commitment to using stories as a medium for connection has remained steadfast. Whether through songs, essays or poetry, I continue to use my art as a platform for change and empowerment.

HK: Can you tell me a bit about the process of making NoteSpeak 12 and what you wanted to achieve with it?

LM: The making of NoteSpeak 12 was a journey filled with serendipitous encounters and creative synergy. My co-founder, Marco Cremaschini, and I met in Brescia in 2005 after several near misses of crossing paths over the years. Our collaboration began as a result of our shared passion for music, both of us drawn to the others’ artistry. After so many years of working with one another it was an organic evolution from our first band Hippie Tendencies to the NoteSpeak project. The first album was NoteSpeak (Amori e Tragedie In Musica), NoteSpeak 12 was the sophomore offering and we are currently working on the third in the trilogy. We are intent on making sure Marco’s compositions and my words complement each other seamlessly.

Our creative process is collaborative and dynamic. We exchange ideas, trade work, and continuously push each other to explore new territories. The songs on NoteSpeak 12 are a reflection of this shared vision, each with its own story and inspiration. Some songs started from poetry, while others began with the music. Some musical ideas were mine, some concepts for the poems were Marco’s but all were intricately woven together to form a cohesive and expressive whole.

Our goal with NoteSpeak is to create a body of work that transcends traditional boundaries of music and poetry. We wanted to blur the lines between spoken word and music, allowing each to complement and enhance the other. Through this fusion, we aimed to convey a range of emotions and experiences, from introspective reflection to impassioned protest.

With NoteSpeak 12, Marco and I sought to continue this tradition by using our art as a platform for social commentary and protest. Each song on the album carries themes of resilience and resistance, addressing issues ranging from immigration to environmentalism. Through our music and poetry, we strive to spark dialogue, inspire action, and give voice to those who may otherwise go unheard. Through our collaboration, we hope to challenge conventions, provoke thought, and ultimately, effect change.

HK: Musicians that sing about politics, animal rights, women‘s rights and raise awareness about different issues sometimes get backlash and are told to keep politics out of music. What is your take on the connection between music and activism in your opinion? Why can music be such a powerful tool for getting a message across? 

LM: Speaking out politically is not just the artist’s right; it is imperative. In the course of shopping for a home for NoteSpeak (Amori e Tragedie In Musica), an A&R guy at a well-known indie label chastised me when I sent him the project, saying that, “It is not the musician’s job to be political.” I find it pretty much impossible to understand that stance. However, I know many musicians decline to perform for any political party for various reasons, chief among them not to risk alienating any fans who may be across the aisle. But to say that musicians should not voice an opinion on political issues makes me wonder what that A&R dude had been listening to. Famously, Bob Dylan refuses to endorse a political party, but c’mon now, the history of his oeuvre makes it very clear where he stands on a variety of issues. In today’s tumultuous political landscape, it’s more crucial than ever for artists to stand up and be heard, especially when faced with the cacophony of our world order’s rhetoric. I’m keenly aware that we are privileged in our birth countries, more so even by the fact that we can take the time to wrestle with such questions. Exceedingly lucky that we don’t suffer more pressing issues, such as having to take three hours out of our day to fetch water, fight for the right to an education, battle the suppression of free thought, or countless other obstacles. If the artist does not hold up a mirror to injustice we are missing an opportunity to effect positive change.

HK: Are you following other contemporary artists whom you‘d like to give a shout out to? Are you aware of other musicians, perhaps in your local scene or elsewhere, who use their talents in a similiar way as you? (I understand that you are in Italy at the moment, so you might have interesting perspectives on the music scenes there and in your native home?).

LM: So many. Esperanza Spalding, Aja Monet, Saul Williams, Ani DiFranco, Evan Greer, Angélique Kidjo, Buffy Sainte-Marie, Sarah Gee, and on and on and on. As for using their talents in a similiar way- there’s nothing new under the sun, except we are each our own little universe, our experiences form how we see and respond to what surrounds us, so each, if digging deep, is entirely unique. In Italy there’s a long history of musicians working for social change like DeAndrè, DeGregori, Gaber etc. Today there are voices from Afro Italians like writer, journalist, activist Igiaba Scego, whois a fiercely dedicated leader as is author, journalist, activist Cristina Ali Farah, another whom I deeply admire. Director, writer and actor Alfie Nze is making incredible films that inspire dialogue. Model and activist Bellamy has created the digital platform AfroItalian Souls celebrating AfroItalians while simultaneously providing a space to amplify black Italian voices. Afro-Italian queer immigration activist Medhin Paolos is a photographer, filmmaker, and musician whose current project in collaboration with Harvard University, “Mind the Gap” will have far-reaching effects as the heart of the work will be implemented in Italian classrooms. Activist Karima 2G makes music with a message. ARTivist Kwanza Musi Dos Santos is getting national attention with her non-profit work, as is interpreter, journalist, and activist Uche Bridget,  and so many more,  there are way too many marvels disguised as humans to list here. In my own little corner of Italia, I am awed by and honored to work with: Uno Collective, activist Francesca Sanneh is one of the collective’s intrepid leaders whose commitment and tireless energy to the cause inspires me daily – and Afrobrix. Musicians: Osasmuede Aigbe, Eva Fuedo Shoo, Daniela Savoldi, and Anna Bassy are talent and beauty personified while fighting the good fight.

HK: What musicians, authors or activists have inspired you in your life? What kind of extra curricular activism (outside your art) do you partake in, in one way or another?

LM: Again the list is endless. The usual luminaries Angela Davis, Alice Walker, Maya Angelou, Sonia Sanchez, Nina Simone, Audre Lorde, Mari Evans, James Baldwin, Toni Morrison, Nikki Giovanni, Billie Holiday, Marvin Gaye, Gil Scott-Heron and so many more. Coming of age in Boulder there were also the influences of Joan Baez, Woodie Guthrie, Bob Dylan and, again, so many more. As for extra curricular activism, I believe in living a life of conviction, and demonstrating one‘s ideals in every facet of the path we walk. You can find essays on my advocating for the rights of Black birth fathers, sharing stories on DAWTA the podcast with my co-host Dionne Draper to support the transracial adoptee community, writing about the racism in my adoptive mother’s family.

HK: What is on the horizon for you, musically and in life?

LM: At our artist residency at SUNY Oneonta in November we began writing the new NoteSpeak album in earnest and have begun full band rehearsals, now I’m hunting for the funds to head back into the studio to record it. Then we’ll tour it as widely as we can and perhaps I’ll then have more concentrated time to continue the work on my semi-autobiographical novel.

HK: Anything else you‘d like to shout from the rooftops?

LM: Love love love, always love.

Interview

Amplifying humanitarian perspectives through music: An interview with Fold.

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The Fold crew is here to remind us that there are good things in this world that are worth fighting for.

FOLD — from left to right: Sam Hutchison, James Child, Seth Mowshowitz and Phil Hepworth

Out of Leeds, UK, comes a rather unique kind of band. It’s impossible to lock their music in a genre box and throw away the key, but what is possible is to understand what they stand for. Their website states clearly that they are a music collective who’s goal is to “amplify undervalued perspectives and critical reflections on today’s world.”

With the help of guest MC’s, poets, and sometimes aided by sound bites from thinkers, writers, journalists, the Fold crew uses its talents to add a positive, critical and constructive commentary into today’s rather awful looking society.

Halldór Kristínarson: The world is looking pretty bleak at the moment. What makes you feel hopeful or positive these days?

Band Members: For us as a group, humour and laughter are key. Our music is quite emotional and usually deals with serious subjects but in between we’re always finding ways to make each other laugh. If you ever come to our gigs the banter is almost like a miniature standup comedy show woven into cracks of the set. We send each other silly GIFs & videos all the time in our group chat.

As bell hooks said: “We cannot have a meaningful revolution without humour. Every time we see the left or any group trying to move forward politically in a radical way, when they’re humourless, they fail. Humour is essential to the investigative balance that we need to deal with diversity and the building of community.”

Seth Mowshowitz: It really is looking bleak, that can’t be denied. You have to embrace it, but not all the time. Finding a balance of dipping in and out the news cycle is essential. I do things every day for at least an hour that keep me mindful and stop me from ruminating. That includes tending a fire in my wood-burner on cold days, playing nerdy collectible card games from the 90s, reading and above all working on music.

What gives me hope personally most of all are my kids (11 & 15) because they have become such wonderful, decent human beings despite the world they’re having to grow up in. Another thing that gives me hope is the fact that we are finally seeing the cracks start to show in the façade of public discourse. The ongoing genocide in Gaza, as horrible as it is, has not only radicalised a generation but also opened the eyes of more than ever before to the hypocrisy of mainstream narratives, the western political establishment and the system as a whole that cannot be closed again.

HK: Has your music always been made in protest, or with a conscious message?

BM: Yes, from day one. We describe ourselves as being dedicated to amplifying humanitarian perspectives and critical reflections on today’s world. It took 12 years to come up with that summary [laughs]. It is about communicating complex subjects through the democratisation of language—a kind of translation into something simpler, poetic and more evocative that people can connect with and relate to better than academic texts and political rhetoric. Sometimes that takes the form of carefully edited interview snippets, or poems, or MCs rhyming bars or just good old song lyrics. We consider ourselves a collective in that we invite many different voices into the Fold (see what we did there) in order to represent as diverse a range of perspectives as possible.

Cover for the single ‘Forever War’

HK: With your latest track, titled Forever War, you mention how recent horrors in Gaza drove you to write that song. But singing against, and simply being against, the military-industrial complex seems, at least to an outsider like myself who is from a country without a military, to be a very complicated thing. The military looks almost like a religious entity in certain countries and it seems to me, that for some countries, it is almost a blasphemy to speak bad of ‘the troops‘. What is your experience of using your voice, critizising the military and the government funding it? Or your experience from observing dissidents who do so?

BM: That’s a big question. To the first part about speaking bad of the troops, we would never disrespect the soldier. We recognise that aside from the victims on the receiving end of war the people who pay the highest price are the soldiers who fight it. We have enormous respect for anyone who believes in the cause of fighting for their loved ones and enlist for that reason, or, as is often the case in the US among underprivileged groups, when it is the only road to a subsidised education or providing for loved ones. The sad truth is that the soldier is more often than not being manipulated as a disposable pawn in a game for profit by the military-industrial complex which has zero regard for the value of human life, whether that of the soldier or the civilian casualty. In his book War Is a Racket (1935) General SD Butler argues that a major part of how we can ‘smash the war racket’ is to invest those who are actually going to fight the war with the exclusive ability to vote on whether or not war should happen via a limited referendum. We reckon that’s a very good idea.

What we’re criticising is the close relationship between defence contractors, the military chiefs and the politicians—that which comprises the military-industrial complex and exists in all countries that have a large enough defence budget, the US being by far the largest. Our argument is that this institution—again particularly in the US—has become so powerful that it now produces unnecessarily vast amounts of arms and lobbies governments to enable as many wars as possible that go on for as long as possible in order to sell as many of their largely unnecessary arms as possible. They push for wars without any clear conditions that would lead to their conclusion, which is what the term forever war refers to. In other words, these endless wars are being increasingly facilitated by the very industry that benefits most from them and resulting in more and more situations like Gaza or Ukraine.

In terms of our experience in using our voice to criticise the military-industrial complex, we seem to occupy a strangely safe ground. We’ve had no backlash whatsoever. It may well be that we haven’t reached a wide enough audience to be noticed by the more toxic elements within the discourse. It may also be that our existing audience expects exactly this from us. We’re nowhere near big enough yet to pose any kind of threat to the edifice of warmongering and profiteering.

Seth: As far as other dissidents who have spoken out against the machinery of war, I immediately think of whistleblowers Julian Assange, Edward Snowden and especially Chelsea Manning. I protested against the treatment of at least two of them outside the Magistrate’s Court in London when I still lived there. They were all direct threats to the global intelligence community, which is a scary place to be, and you could see from their treatment just how risky it is to pose any kind of substantial threat to those in control of that world. I’ve known this for a long time having studied the history of US-Latin American relations in university and having grown up with Chileans who were wanted by and escaped from the Pinochet regime. I’m an unusually anti-imperialist American in that respect.

HK: The video for the song is definitely uneasy to watch. But it‘s just real images of what we humans are capable of. Yet, I understand some people get upset with such things and prefer to not see the horrors. How has the reception to Forever War been so far and to your protest music in general?

BM: We worried about this when we released the video, which is why we made it 18+ on YouTube. TikTok removed one of the two excerpts we uploaded for violating community guidelines due to the images of genocide and Nazi rallies. We didn’t appeal. On the whole, again, the exposure has been so minimal that it hasn’t really mattered. The feedback we’ve had so far is incredibly positive. The video does at least successfully communicate what we wanted it to even if it is highly doubtful that it’ll get significant exposure. We have absolutely no doubt that it would deeply offend someone if it was shown to enough people but if that sparks thought and emotion that leads to discussion then we’ve done our job properly.

We’ve been doing this a long time now, since around 2012. The overall response in that time has been overwhelmingly positive. A few times during our live performances news of world events filtered into the room and certain tracks were able to reflect the zeitgeist in those moments, appealing to our shared humanity and connecting us to the audience in a profound way. There was this powerful sense of a collective consciousness that could be overwhelming at times. Moments like that have made the entire project worthwhile.

We’ve been fortunate in never having played to an audience that wasn’t receptive to our approach. That may well be partly down to working consistently with promoters and venues that are appropriate to our type of music (they wouldn’t book us at children’s parties), partly down to luck and partly down to the approach itself. We’re not telling people what to do or how to feel, we’re simply reflecting those parts of the world that most of us find difficult to look at.

HK: Why can music be such an effective form of protest?

BM: The synergy of words and music has the capacity to unite people, to galvanise movements and to give a voice to the voiceless that connects on both an intellectual and emotional level more than words or music alone. The reasons for this are enormously complex & fascinating. There’s a wonderful, illuminating book called The World In Six Songs that explains how our brains have evolved to be musical and the many—often undervalued—functions and roles music plays in our individual and societal make up. For instance, before the written word, music was used as a primary means of encoding information such as sacred ancestral stories. It is far easier for our brains to remember lengthy texts when set against a sequence of repeated musical patterns. Drums have been used since the dawn of civilisation to coordinate action, especially in combat to intimidate opponents. We could go on for days about this.

When it comes to capturing and expressing the zeitgeist—especially when the zeitgeist is being simultaneously hijacked and deformed to fit nefarious agendas by corporate media and politicians—few things can match the synergy of words and music. The right song at the right time can lend expression to an entire generation and unite them under its banner. Within that song, the right language at the right time can provide people with a means of easily sharing a complex perspective with others, thereby expediting the spread of that perspective. This happened numerous times on a massive scale in the 60s and 70s especially.

However, since the reliance on social media and streaming platforms to amplify our music has become so ubiquitous we have begun to wonder whether or not certain algorithms play a substantial role in suppressing those perspectives that are deemed a threat to mainstream narratives and power structures.

Whenever we release music, particularly if it deals with very difficult subjects like our latest single Forever War, it is extremely tricky to discern the difference between people simply not connecting with the music versus algorithmic suppression of the content. The fact that there are so few No. 1 hits in the history of these streaming platforms (roughly over the last 3 decades) that amplify controversial humanitarian perspectives, or more traditionally could be called protest songs, says an awful lot. Only Childish Gambino’s This Is America managed to buck the trend and that was largely due to word of mouth and a visually-led campaign in the form of a brilliant video that went viral. Only a handful of No. 1 hits in the past 3 decades have had substantial social or political subject matter. 2020 sparked a surge in protest music but virtually none of that made it ‘big.’

Of course there’s always been a direct human factor in this kind of suppression. Music that is overtly sociopolitical has long held a certain stigma in music media with the occasional exception breaking through such as Rage Against the Machine. Also one key difference between physical sales and streaming is that the former requires a higher degree of agency in the listener. They have to go out and buy the music in order to listen to it. The way that people consume music now is much more ephemeral, throw-away and reliant on algorithms or curators to choose it for them. It is a much more passive kind of listening and therefore easier to control.

Photo retrieved from the band’s website.

HK: Who are your musical inspirations? Do you follow other contemporary protest musicians or conscious artists that you‘d like to give a shout out to?

Seth: Sooooo many. Longer term: Public Enemy, Black Sabbath, Sepultura, Arthur Verocai, Gilberto Gil, Caetano Veloso, Marvin Gaye, Curtis Mayfield, Sly & the Family Stone, James Brown, War, Bob Marley, Nina Simone, Black Thought, Stereolab, Radiohead, Lali Puna, Bikini Kill and Rage Against the Machine to name a few.

Recent inspirations: Kendrick Lamar, Brother Ali, Lowkey, Childish Gambino and some of Dave’s earlier stuff like Question Time.

Smaller, local acts: Oakley Riot, Broken Opium Table and the Commoners Choir.

HK: If music was not your greatest passion, what would you be doing to make the world a better place?

Seth: Because I’m autistic (undiagnosed) along with both of my children (diagnosed) I am a constant advocate for better understanding of neurodivergence. I’d probably be more focused on that if I wasn’t so absorbed with music. A lot of what I do outside of music could be classed as delivering social commentary. I guess a big part of my raison d’être is to try and help make sense of this crazy world for myself and others. I also spent many years as a professional web designer for charities. I do love design and I am quite passionate about the role of design in improving people’s lives. More than anything else though I think I’d probably focus on writing.

HK: What‘s on the horizon for the Fold crew?

BM: We only just came back to gigging towards the end of 2023 after a 3.5 year, pandemic-imposed hiatus. The two gigs we did in September and November were fantastic craic, loads of people came and we all had a fabulous time. So this year we are doing more gigs for sure. The next one is at The Old Woollen in Leeds on March 21 in fact, and our 3-piece horn section—who haven’t been on stage with us for a very long time—will be there too.

We are currently planning a few experimental live performances (TBC) including a hybrid live podcast show where we balance segments of speaking to / with the audience and live music. Also, we’re looking to bring other kinds of performers on stage including a Shibari artist.

We’re always writing new material as well. The plan is to hire a little cottage in the middle of nowhere and record the next batch of tracks in the coming months. We’ve had a run of 6 single releases since the last album to keep up momentum so we are overdue a more substantial release and that will definitely be happening this year.

HK: People are reading from around the world. Anything else you‘d like to shout from the rooftops?

BM: We love the notion of people checking in from all over the world, it never gets old. Despite how bleak things look today the world is still a wonderful, beautiful place full of amazing people. Our diversity and sense of community are our greatest strengths. What is worth shouting? Never give into fear or despair. There is always hope. Let us work together to end all forms of domination from a place of love.

“The imperial need for control is so desperate because it’s so unnatural. Tyranny requires constant effort. It breaks, it leaks. Authority is brittle. Oppression is the mask of fear.”

— Nemik’s manifesto (Andor / Star Wars)

Interview

Pushing against hateful narrative with art: an interview with Bristol musician Krantz

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Take discovering acid jazz at the age of 12, then studying classical music and throw some beatboxing into the mix, and you’ll have some of the pieces visible that make up Bristol musician and activist, Krantz.

After discovering his music on X (formerly known as Twitter) I contacted Krantz to learn more about his work. It was clear that the man uses all his talents very specifically, and directly, to tackle certain political issues that belong to his proximate surroundings as well as around the globe. One of his latest tracks is a piece of emotional, moving electronica, that is created around a speech from US Senator Nina Turner, which Krantz sampled and puzzled in with the music – as if the powerful words were performed to the music.

During recent Covid lockdowns, Krantz used all of his musical talents, every Sunday, to entertain his fellow neighbors by performing music from his garden patio. Later on, other neighbors and musicians started participating, sending tones across rooftops and lifting people’s spirits.

Krantz took a moment to answer a few questions to further explain his background, music, and future projects. Read his message to the world below and check out his webpage and socials to follow his music.

Halldór Kristínarson: Thank you for taking the time to answer a few questions! First of all, who is Krantz and how did you first get into making music?

Krantz: I’m a pianist, producer, composer, songwriter and beatboxer from Bristol who has a passion for politics and wants to help those speaking truth to power by sampling their spoken dialogue from Youtube videos to create impactful and memorable songs. I want to help them reach as far and wide as possible to show that people are leading the fight against those who continue to want to divide us.

I’m a classically trained pianist and after discovering Acid Jazz at the age of 12 and teaching myself to play Jazz and Funk, I also found a love for emotive classical music after hearing Samuel Barber’s ‘Adagio For Strings’. When I began composing on the piano I started beatboxing to give each piece it’s character/ genre and this ability to beatbox and play piano at the same time has led to me supporting the likes of the Dub Pistols, Kosheen and performing at the world-renowned Boom Town Festival on multiple occasions.

My passion for many musical genres is displayed in my huge catalogue of tracks which include Classical, Post Classical, Orchestral Dubstep, Electronica, Hip Hop, Jazz, Beatbox, Funk, DnB, House, Trip Hop and World Fusion and I look forward to continue sharing as much music of varying genres as possible in the future.

HK: Did you decide from the beginning of your career to use your music and your voice for good? Or did politics and protest come into your craft at a later stage?

K: Politics and protest definitely came the more I emotionally matured and realised the good fortune and privilege I’ve had by having opportunities and choices. Before deciding to use the dialogue of truth teller’s dialogue in my tracks, my own lyrics were always very zeitgeist and addressed social, political and environmental issues so it was a natural progression and perhaps was destined to happen.

HK: Why do you think music is such an effective vessel for protest and activism?

K: Most people won’t spend the time watching a debate, an interview or even reading full articles and mostly make decisions on very little information e.g. ‘get Brexit done’. To be able to deliver the truth and the words of truth-tellers to the general public we have to be creative and find vessels that push against the [mainstream media] narrative that are entertaining, memorable through repetition and help induce introspection- you can take a horse to water but can’t make it drink. People need to be in a neutral space away from bias or influence to truly reflect and this is where art and specifically music can be most powerful. I’m creating alternative versions and remixes of multiple dance genres for every song so that the dialogue has a chance to reach as far and wide as possible and for the tracks to be used in DJ mixes online, in bars, festivals, radio and in clubs. The hope is people really enjoy the music, find the dialogue intriguing, want to find out who’s delivering the lyrics and then hopefully start following that person.

HK: You mentioned via our chat, on the medium formerly known as Twitter, that Facebook and Instagram had suppressed your posts after sharing a certain song. Can you tell me more about that?

K: I produced a song and lyric video featuring the dialogue of Alexandria Ocasio-Cortez (AOC) called “The Insurrection” and when trying to boost a post containing the video, Facebook responded by saying it was inappropriate and was not following the rules and regulations. Ever since that point my exposure has been incredibly small and is proving to be a massive obstacle in sharing content with people even within my own social circles let alone the wider public. Twitter is the only platform that really offers me the opportunity to share content to a wide audience and therefore the potential for increased awareness and followers.

Krantz working on ‘We Must Stand Up and Speak the Truth ft. Nina Turner’. Photo retrieved from the official Krantz Facebook page.

HK: How is the scenery around you, music and activism-wise? Where you live and work, do you feel artists are using their voices to create change?

K: I very much keep myself to myself in regards to music creation however I don’t feel enough people are using their privilege and platform for positive means. I’m incredibly lucky to be in a position where I can make a difference in people’s lives and I feel it’s now my duty to make this happen. Fear and hate are constantly being fed to the public and we need to fight against this with an abundance of art filled with messages of optimism, truth and unity.

HK: Who are some of the artists or people that have inspired you?

K: Herbie Hancock, Samuel Barber, Hybrid, Outside, James Brown, Tower Of Power, Pink Floyd, Jazzanova

HK: What do you hope to achieve with your music?

K: I hope to help inspire other artists to produce their own political/protest art, for people to listen to the songs and be inclined to find out more about the featured speaker and to help sow some seeds that lead to introspection. Even if someone initially only engages with the composition hopefully through repetition, the lyrical content will start to penetrate their thoughts.

HK: What is on the horizon for you?

K: I’m continuing to produce a vast amount of songs with alternative versions and remixes which I’ll be releasing over the coming months. The next release is a track featuring James O’Brien (LBC) called “Twaddle Is Still The Order Of The Day” which is about the collusion between politicians and the right-wing newspapers. I’m looking to release it before the end of the year. I’ll then be releasing 3 different versions of a narrative I’ve created using Nina Turner- the song is called “Many Hands Make For Light Work”. The genres are classical, Jazz and Dub.

HK: Thank you again for participating. Anything else you‘d like to shout from the rooftops?

K: Want to say a massive thanks to yourself for putting the time and effort into trying to help make a difference. It’s not easy, you have to have self-belief, believe that hope can materialize and the aptitude to be able to keep on pushing. Keep up the good work as it will pay off and we will help to implement change.