INTERVIEW: Emma Conybeare

INTERVIEW: 

 Emma Conybeare

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THE last time (I think) I interviewed a D.J…

was when speaking with Carly Wilford last year. It is exciting to learn more about Emma Conybeare because she is a bit of a triple-threat talent. She is a prolific, respected and innovative D.J. who has worked for Hoxton Radio.

She is with Capital XTRA and is one of the most exciting talents in London at the moment. Conybeare is a sport’s brand model so I ask her about her work – including her campaigns with Puma. In addition, she is a keen collaborator and eager to promote and back fellow D.J.s and artists.

I ask the London-based D.J. about her radio and presenting work; what she has planned for the future; the new artists she recommends we take a look at – and how she transitioned from life in sleepy Tring (Hertfordshire): emerging like an ambitious butterfly into the buzz and light of London…

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Hi, Emma. How are you? How has your week been?

Hectic…super-hectic!

Juggling D.J. sets with live radio presenting and hosting a BT cycle event…. I wish there were more hours in the day (just so I could sleep)

For those new to your work, can you introduce yourself, please?

Hello.

I’m a British T.V. presenter and Radio presenter (for Capital XTRA) – doing early-morning breakfast - D.J., model...

Recently, you worked at a MADE Festival and got to interview a range of artists. What was your highlight from the Festival?

I come from a small town in Hertfordshire (Tring) and, growing up, I was into my Drum and Bass music. At this festival, I got to interview all the D.Js. I was growing up with.

So, I had some of those star-struck moments when I got to speak to Chase & Status, Subfocus; Camo & Krooked.

Can you tell me when music first came into your life? What kind of artists did you grow up listening to?

Growing up in Tring: we didn’t really go out clubbing.i

It was a rare occasion because we were pretty far away from clubs; so, we ended up having house parties every weekend. This meant everybody was a D.J. (I mean…everybody).

The sort of music people played was Jungle and Drum and Bass. I was heavy into this until I went to university. It felt weird.

Quite literally, overnight, I was converted into a House and Deep-House Queen.

After you completed your Mathematics and Statics degree at Portsmouth University; you came to London to follow your passions. How important was the move to London and what compelled you to go from academia to something quite distinct from what you were studying?

I knew that I wasn’t going to get anywhere in Tring: It was too far away from things and, let’s face it…it was the place you go to retire. I’m a confident girl and I knew I had to knock on a few doors. I felt Tring was restricting.

London is a small city in a big place: you ended up bumping into people all the time and it is all about meeting the right people.

Many might recognise you from Capital XTRA. How did you become involved with the station and what drew you to being a D.J. in the first place?

I was working on Hoxton Radio for two years and I got head-hunted by Capital XTRA. Music is in my blood: I love creating new sounds; pleasing people with my music selection – plus, the adrenaline-buzz that you get from each set that you produce can make you happy for days.

My favourite albums of this year are from Lana Del Rey, Dizzee Rascal and Sampha. Which discs have been setting your world on fire in 2017?

Ok. So, I know this is a little weird - because I love my House music, Techno etc. - but the albums I am in love with at the moment would have to be Post Malone (Stoney), Jay-Z’s 4:44 - and I’m a massive fan of Joe Goddard (Electric Line).

I Interviewed him at Wildlife Festival…such a nice guy.

I am a big fan of your (recent) House Teck D.J. mix. Is it hard getting that mixes together and where did you get inspiration for them? How often are you out there seeing other D.J.s perform? How important are streaming sites when it comes to your discoveries?

Ok. So, when I got into D.J.-ing, I almost feel as though the music comes to you: when you’re mixing, the two songs should come together to create a magical ‘third song’ - with the two different beats.

The fact I have always been brought up with D’n’B, Dubstep; House and Techno, means you have to almost feel the beats of the music - rather than sing along to the lyrics of the song….

I have my go to D.J.s who always produce great tunes after tunes - then, tend to send me their new songs.

But, I always recommend compilation albums: it is good to be introduced to new D.J.s and their style of music. 

You spent, what I presume, two happy years at Hoxton Radio – where you produced and presented shows there. What did you learn from your time there and how important was that experience to you?

When I was at Hoxton Radio; it was a great training ground.

Each show was two-hours-long but the preparation time must have been four hours. I had to find all my music; I did all roles - from presenting, producing and editing my shows. It was fun but was also hard work.

It wasn’t paid so I was working full-time as a waitress - as wells other jobs – so, on top of everything, I had to sacrifice a lot of time to my radio shows.

Sport and fitness, alongside music, is obviously very important. I believe you work with/model for Puma. How did that association come about and is it easy to disconnect from D.J. work and getting into a different headspace?

I’ve always been a model for sports. I’ve done many campaigns of Adidas. Puma kind of fell into my lap (who you know). They invite me to events and try out their product: it’s super-fun.

Sport has been my life from the age of six - where I swam competitively and I represented Hertfordshire for cross-country. Exercise gets rid of my tension because, let’s face it: London can be quite suffocating sometimes.

I know I can go out for an hour’s run and, by the time I get back, whatever upset me before the run will have been forgotten.

You are very busy on social media and get a lot of love from your followers. How important are the vibes you get from your fans? What message would you give them?

Social media is key to success.

I know it's fickle to say that but you need to interact with people that like your work. if someone off the street stops you and says “I like your shoes you”;  don’t carry on walking: you say “thank you”.

How is it any different on Twitter or Instagram?!

We are all same. I don’t think I’m above anybody and I’m very friendly - so I will always say hello.

Summer is (apparently) coming up. Are you remaining in London or are you doing any performances/sets abroad?

What?! Summer is coming up?! I thought it had finished, already?!

My August is really busy at the moment. I have a couple of T.V. gigs on top of radio  - which will take up a lot of my time. Plus, a couple more festivals have been lined up - to cover with DJ Mag TV.

But, if I’m being honest, I can’t wait to be going away on holiday. I haven’t had a break since Easter. I’m heading off to Cornwall with the family…walking, surfing; fish and chips… bliss!

Who are new acts/D.J.s you recommend we check out?

Ok, So, I’ve been a massive fan of Solardo since interviewing them last December with DJ Mag TV - and this year, they have blown up (going to sooo many festivals). They also did a mash-up of DJ Will Clarke (Techno)... 

Will Clarke - also a D.J. to look out for. He has some cool different vibes to his music!

PHOTO CREDIT: Adrian Lee

If you had to select the three albums that mean most to you; which would they be and why?

Ok. So…

Camo & Krooked - Cross the Line (2011).

Turning point of my life: finishing university and making the decision to leave friends and family in Tring and move to London on my own.

Sting - Mercury Falling

This reminds me when I was a little girl. Our family used to drive to Spain and this album was played on repeat!

Rihanna - Anti

I can’t help it: I have such a girl-crush on ‘RiRi’ - and this album is incredible.

What advice would you give to artists/D.J.s coming through right now?

Practice makes perfect, and…find music that you enjoy and that inspires you. Also...watch and listen to other D.Js/people that play in clubs.

We all make mistakes sometimes - so no-one's perfect.

Finally, and for being a good sport, you can name a song and I’ll play it here (not one of yours as I’ll do that).

Highly addicted to this song…

It’s the Solardo and Will Clarke (and BOT) remix of Techno (Not Techno)…. the beat is insane.

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Follow Emma Conybeare

FEATURE: Labelled with Love: A Selection of Some of the Most Influential Record Labels in Music

FEATURE:

 

Labelled with Love: 

IN THIS PHOTO: FKA Twigs of Young Turks 

A Selection of Some of the Most Influential Labels in Music

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THIS is a rare excursion into the territory of record labels…

and a chance to recognise some of the most inspiration, important and upcoming names we should look out for. Some are well-known whereas others are smaller and working in the underground. The record label often gets overlooked in favour of the artist: one cannot underestimate the importance and significance of the label behind the talent. They, not only provide that guidance and energy - but offer knowledge and an immense amount of time.

Because of this; a rundown of the well-known and lesser-heard labels that warrant more time, acclaim and listening…

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Mad Decent

IN THIS PHOTO: Poppy

Made Decent, formed in 2006, are, according to Pigeons and Planes...  

"...If you aren't yet familiar with the record label Mad Decent, chances are that you've at least heard of its founder Thomas Wesley Pentz aka Diplo. Established in 2006, the imprint originally worked to promote Brazillian Baile Funk and Angolan Kudro. The label's mantra revolves around bringing new genres and cultures to the forefront of an ever diversifying music community".

Website: http://www.maddecent.com/

XL Recordings

IN THIS PHOTO: Smerz

Again, when looking at the 1989-formed XL Recordings; Pigeons and Planes encapsulate the merit and essence of the mega label:

“Despite releasing an average of merely six albums per year, XL Recordings has become a widely recognized and respected force in the indiedendent label space. XL has even superceded the concept of indie in some ways as they work with some of today's largest acts. Founded by Richard Russel, Tim Palmer, and Nick Halkes, the Beggars Banquet offshoot was originally launched to release rave and dance music. In the early '90s the label focused mostly on dance-oriented releases ranging from Belgian Techno and Breakbeat to Hardcore and Drum & Bass. Their willingness to work with more eccentric, experimental artists is evidenced by their longstanding relationship with The Prodigy”.

Website: http://www.xlrecordings.com/

Fat Possum Records

IN THIS PHOTO: Kadhja Bonet

It is the same site that has led me to this incredible label – that formed back in 1992:

“Founded back in the early '90s by Matthew Johnson and Peter Redvers-Lee simply as a way to preserve some of the blues players in their corner of North Mississippi, Fat Possum has consistently released music with meaningful cultural implications. Early on the label stayed fairly true to their blues roots and relied heavily on New York Times critic Robert Palmer when it came to picking acts to sign. But with the changing industry and expanding tastes, Fat Possum have branched out from their early roots and now have a large roster that includes bands like Wavves, Tennis, Youth Lagoon, and Spiritualized”.

Website: http://www.fatpossum.com/

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Paper Garden Records

IN THIS PHOTO: Color Collage

The relatively new label (formed in 2005) are looking after some tremendous acts right now. It is the penultimate name from the Pigeons and Planes guidance and, looking at their website, a label that has a huge ear for quality:

“Bryan Vaughan founded Paper Garden Records in 2005 as part of an entrepreneurial program at Belmont University in Nashville, but it wasn't until he moved to New York City and became business partners with Heidi Greenwood that the label really flowered into full fruition. Still functioning on a very DIY scale, the pair work out of their apartment, and yet manage to represent some of the best independent and underground music being created. Whether it be releasing records through their small, independent label, or helping represent bands through the Lovely Hearts Club PR blast branch of the LLC”.

Website: http://www.papergardenrecords.com/

Neon Gold

This label is responsible for some of the biggest Pop artists/songs in recent years and, as you can see from their site, are constantly supporting ripe and promising talent:

“In terms of indie pop pedigree, Neon Gold is unbeatable. Their roster is a place to go if you want to see where indie's biggest superstars got their start, and a great bet if you're planning on catching an act early on in what will become a huge career. The boutique label was first founded by Derek Davies and Lizzy Paplinger to release Passion Pit's "Sleepyhead" single. Five years later, the band is headlining Madison Square Garden. A savant-level ability to predict what music is destined to break big on the mainstream is no fluke for these guys; Ellie Goulding, Gotye, Marina & The Diamonds and Penguin Prison are all NG alums, too”.

Website: http://neon.gold/

Whities

 IN THIS PHOTO: The cover for Whities 011 by Lanark Artefax

The next four names I have sourced from FACT, who, all the time, have their finger on the pulse and know their stuff! The first label is one I am really curious about:

“London’s barely hatched Whities label colored even further outside the lines in its third year in action, bringing us, on one hand, one of the year’s biggest dancefloor 12″s in Avalon Emerson’s evocative, thundering ‘The Frontier’, and, on the other, one of the strangest pop mutations we’ve ever encountered in Reckonwrong’s Devo-meets-Morrissey bedroom-disco curio ‘The Passions of Pez’. Add to that another mind-melting spookfest from bass engineer Minor Science and Lanark Artefax’s breakbeat daydream on ‘Touch Absence’ and you’ve got the makings of a classic year for Nic Tasker’s operation”.

Website: https://www.residentadvisor.net/record-label.aspx?id=10855

Timedance

  “It’s easier than ever to start a label thanks to the power of the internet, but taking the old-fashioned approach and building something local is all too rare these days. It’s one of the reasons why Batu’s Timedance label stood out in 2016; instead of trawling SoundCloud for unsigned club producers and seeing what sticks, he’s built a community around the music of his Bristol contemporaries and formed something that feels very much like a family of like-minded artists”.

Website:  https://timedance.bandcamp.com/

Orange Milk

“Orange Milk’s experimental music carnival was in full swing this year, dropping releases that were as garishly entertaining as they were artistically challenging. The label hit us with indescribable weirdness like DJWWWW’s Arigato, Foodman’s Ez Minzoku and Death’s Dynamic Shroud’s Classroom Sexxxtape, all utter headscratchers that might turn you off if they weren’t so damn fun to listen to.

OM delivered on all fronts: Diamond Soul’s chaotic footwork, Euglossine’s psychedelic easy-listening and gorgeous plunderphonics from M Sage. Even their reissues were excellent, including Machine Girl’s endorphin overload Gemini and Goop, a reminder that Orange Milk co-founder Seth Graham is the label’s secret weapon”.

Website: http://www.orangemilkrecords.com/store/c1/Featured_Products.html

Swing Ting

IN THIS PHOTO: Murder He Wrote

“Manchester has not-so-quietly made a play for the UK’s greatest party city in the last couple of years, and Swing Ting have been right at the heart of the action. Samrai and Platt’s party-turned-label shifted into fifth gear in 2016, releasing a string of solid gold 12″s and EPs pushing their melting pot of faves – R&B, grime, jungle – into a mutant bashment direction, with spectacular results.

Fox’s Musik EP saw the Manchester-via-Kingston MC body a killer set of productions from Famous Eno, Florentino, Murlo, Brackles and the label bosses, while Florentino’s own ‘Bloodline’/’Sientelo’ perfected his recipe for quirky reggaeton confections. Samrai and Platt crowned the slinky ‘Tease Me’ with a sexed-up vocal from Kingston MC Kemikal, while Jamaican duo Equiknoxx graced the label with pa-rappa-pa-rapping ‘Bubble’, one of the greatest dancehall moments in a year stuffed full of them. Add to that Alexx A-Game’s G-funk-dembow hybrid and Famous Eno’s mile-high posse cut ‘Gangsters’, and there’s simply no competition. The Swing Ting sound was all we wanted to hear this year”.

Website: http://swingting.com/

Wichita

IN THIS PHOTO: Globelamp

The label formed in 2000 and has, since its inception, brought us the likes of Bloc Party and The Cribs. Mothers and Girlpool are currently on their books and it is clear Wichita is one of the most important and ever-evolving labels in the world.

Website: https://www.wichita-recordings.com/

4AD

IN THIS PHOTO: Purity Ring

Camera Obscura and Pixies have previously been on the 4AD label. Now, they support Bon Iver, Daughter and Lo-Fang – so many more incredible artists that take the breath away. It is one of the most varied labels and, because of that, one many look to when seeking out the best new talent...

Website: http://www.4ad.com/

Dirty Hit

IN THIS PHOTO: Wolf Alice (2015)/PHOTO CREDIT: Jo Hale/Redferns via Getty Images

They are one of the newer labels – formed in 2009 – and have seen Wolf Alice, The 1975 and Marika Hackman come through their doors. Despite the fact they are young and growing: they have a flair for those original and bold artists that differ from that is out there in the mainstream. Expect their stable to keep growing in years to come...

Website: http://dirtyhit.co.uk/

PMR

PMR signed the likes of Jessie Ware when they launched in 2011. Ware and Disclosure were on their books and soon rose to become two of the biggest stars in the U.K. Two Inch Punch and Javeon soon came to PMR and added to their healthy stock - which includes everyone from GIRLI and Dornik.

Website: http://www.pmrrecords.com/

Young Turks

IN THIS PHOTO: Chairlift

As part of an imprint for XL Recordings in 2006; Young Turks can boast names like FKA Twigs, Sampha and Waaves to their increasing and genre-busting crew. They are, like all great labels, diversifying and building their clientele. At the moment, they can proudly showcase some of the most impressive and forward-thinking acts in the world.

Website: https://theyoungturks.co.uk/

Turnstile

IN THIS PHOTO: Cate Le Bon

Cate Le Bon, Gruff Rhys and Perfume Genius show what an eclectic, fascinating and quality-striving ethos the label has. It is a fantastic outfit that continues to seek-out the very finest from music – so far, they have done a pretty good job of bringing us the very best and brightest!

Website: http://www.turnstilemusic.net/

Glassnote

Flo Morrissey Glassnote.jpg

IN THIS PHOTO: Flo Morrissey/PHOTO CREDIT: Roo Lewis

The U.S. label has helped launch the careers of Chvrches, Daughter and Mumford and Sons. Childish Gambino, Flo Morrissey and James Hersey make it one of the most eclectic and solid labels in music – one that continues to back and nurture incredible musicians.

Website: http://glassnotemusic.com/

Bella Union

BNQT.jpg

IN THIS PHOTO: BNQT

Started by former Cocteau Twins member Simon Raymonde; they brought us Fleet Foxes but, alongside them, The Trouble with Temptation and Manchester’s MONEY are on their line-up. A stellar and huge label that continues to exert influence and incredible artistry – so many years after their inception and starting-blocks!

Website: http://bellaunion.com/

Domino

Horses.jpg

IN THIS PHOTO: Anna Calvi

You don’t need me to tell you they have Arctic Monkeys and Franz Ferdinand as examples of the type of music they promise. More recently; they have Alex G (Sandy) and Georgia and Matthew E. White reoresenting them - ensuring the future for Domino Records is very bright and rosy.

Website: http://www.dominorecordco.com/

INTERVIEW: Bang Bang Romeo

INTERVIEW: 

bang1.jpg

PHOTO CREDIT: Ben Bentley

 Bang Bang Romeo

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ONE of the first things I wanted to discuss with Bang Bang Romeo…

PHOTO CREDIT: Ben Bentley

is how they came to work with Ralph Ineson in the video for Chemical – their awesome and much-lauded new track. It seems the trio have a great eye for visuals and filmic aspects. I probe them (Anastasia fields most of the questions) about the new track and the inspiration that goes into it. With festivals still ahead; I was curious to know where the guys were heading; how they all came together in the first place; what the origin of that unique name (‘Bang Bang Romeo’) is.

Bang Bang Romeo choose the albums that mean most to them; the new artists that have made an impact on their minds – and how, when they get the chance, they unwind away from music…

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Hi, guys how are you? How have your weeks been?

We're great, thanks!

Had a mental summer so far; so we've got a couple days’ breather!

I'm saying that, but we're back in the studio this week putting the finishing touches to our debut album.

For those new to your work, can you introduce yourselves, please?

We're a three-piece from Doncaster called Bang Bang Romeo: made up of Anastasia Walker, Ross Cameron and Richard Gartland.

Heyup!

PHOTO CREDIT: Ben Bentley

Can you just explain the origins of the band name – I have omitted research because I had my own idea. Is there a Shakespeare link or is that a rather simplistic deduction?!

We were in a tapas bar in Sheffield at the time, a little bit intoxicated...

We wanted the band name to encapsulate the lyrics and the vibe of our music. The 'Bang Bang' signifies the music: hard-hitting and a little dramatic!

And, yes, you got the Shakespeare link with 'Romeo' just right. Our lyrics tend to be about love, death; life and hate - so that's the connection there.

Chemical is the new song. What is the track about and how easily did it come together for you?

Ross wrote Chemical when he was seventeen-years-old!

The song is about love being the most powerful thing of all - more than just a chemical reaction. It's actually the first song we ever worked on together - so it holds a special place in all our hearts!

You filmed the video in Rossington Hall. Considering it is an epic and, at times, messy video; how much freedom did they give you to do what you needed?

Thank you!

We wrote the script, chose the actors; chose the venue and the theme, so, in terms of 'control', we really had our stamp on all of it. David Dutton (the Director) brought our dreams to life.

We'd been conjuring up ideas for the shoot for a long time - and for us to finally see on screen, what had been taking over our dreams/nightmares for so long, was a very special moment for us. David is an artist and we can't wait to work with him again. Watch this space.

Rossington Hall is local to us and was the 'go-to' place in our minds when writing the script. The staff and the team there were brilliant and we can't thank them enough for letting us use their beautiful, and very haunting, building!

Haha.

PHOTO CREDIT: Ben Bentley

Of course; one cannot help notice the presence of Ralph Ineson. How did you connect with him and what was he like in person?

Ralph has been a supporter of ours for a number of years now.

He's been attending our shows since day one and has never stopped the support. Again, when dreaming up the video, his was the only face we saw as the Evil Lord of the Manor character. We're still pinching ourselves now that he actually said 'YES!'.

Watching him work was so special. We all had goosebumps the whole time. Thank you, sir.

It seems Bang Bang Romeo has an eye for visuals and theatrics. Is video-making a side of the industry you all enjoy?

Films and visuals are so important for us.

Even in our writing process, we don't tend to think of a song, as just a song - more of a soundtrack for a film - with a proper script or storyline. We'll be in the studio and one of us will end up saying: "This song feels like Bond" - or a Tarantino picture, Spielberg: anything like that.

We like our songs to paint a picture and a landscape. I think after putting out a couple of albums we'll (maybe) get together and write a film.

Haha. We'll see.

You’ve just put an isolated vocal (of Anastasia’s) online. It is a clip, I presume, from your upcoming debut album. What can you tell us about the themes and songs that will appear? Can you reveal any titles yet?

Yes, it is a clip from a track that will feature on the debut called Unstoppable.

I think the key is to expect the unexpected. We've thrown our hearts into making this! Don't be surprised if you open the packaging and there's blood, sweat and tears on the record. Haha.

We don't hold back and this album is our best and biggest creation yet. The front cover is designed, by us; the name has been chosen - it's all there; but we're not revealing it yet, haha.

Ideas for album-two are already underway, too - purely inspired by what we've already been doing in the studio.

When the vibe is as good as it is, it's best to just keep working. If a thirty-track album was logical, we'd go with it.

Haha.

PHOTO CREDIT: Ellen Offredy

I am interested in how you all got together? Did you all arrive from different backgrounds or did you have mutual friends? What was it about one another that formed that attraction?

Myself (Stars) and Ross were both playing at a festival in Doncaster, separately, at the time when a mutual friend introduced us. We hit it off straight away!

Ross played me his catalogue of songwriting he'd built up and that was it. I was sucked in and, 'till this day, it's still an honour to sing his songs - they're like presents! He's helped me work on my songwriting too - which has been priceless for me.

We were recommended Rich. He's from Leeds and, twenty mins into our first jam, we just knew we had what we needed - "This is it".

We've been inseparable ever since.

I saw your live video from Pirate Studios. What was that experience like? Are you going to be putting more live videos online in the future?

The Pirate Studios sessions have always been wonderful for us.

We've got two under our belts now: the Sheffield session and the London one. Their live recordings really are second to none. We love playing them and we'll always be up for doing more - the team are great there and really support what we're doing.

We also use Pirate Studios as our rehearsal space, too – so, if you're in a band, go check 'em out!

Great spaces.

Doncaster Pride is an upcoming gig of yours. How pumped are you about that one? I guess Reading and Leeds is a huge one, too?

We can't wait for Doncaster Pride!

They've always been so kind to us and we'll never stop supporting them. Growing up in Doncaster, a lesbian myself, it's been wonderful to have a strong community around you that is so accessible and willing to listen. We love 'em.

Reading, of course, is another exciting one for us. We played Leeds Festival last year: so it's only right we go for Reading this year!

Looks like you are busy right through until the end of autumn. Which gigs are you most looking forward to? Is touring and live performances something you all love to do?

The October This Feeling Alive tour - with The Shimmer Band, Black Waters and The Blinders - is going to be pretty fuc*ing crazy. This Feeling are leading the way when it comes to bringing new, up-and-coming guitar music to the people – so, when Mikey Jonns gave us the nod for this tour, we were beside ourselves.

Travelling the country with a bunch of talented, handsome; up-and-coming men? Yes please. (This is 100% Stars, by the way).

PHOTO CREDIT: Ben Bentley

Do you guys get to hang outside of music? How much downtime do you get, realistically? Do you have any hobbies or perfect ways to relax?

At the moment, we're living in each other’s pockets!

We have an awesome place we stay near Birmingham when we're recording. It's kind of like a log cabin in the middle of nowhere - with a swimming pool and a pool table surrounded by bats and pheasants. Haha

So, when we're not in the van or on stage or in the studio, we're there. Down-time we spend with our family and friends - as it comes far-and-few-between. In saying that, me and Rich went to a pub quiz last night and got totally robbed. Bastards.

We all enjoy art; whether it be drawing, painting or graphics. Ross also owns a designer menswear store in Doncaster calls Revolver - so he proper fashionable and that.

Who are new acts you recommend we check out?

If you're looking for fresh, inspiring, new guitar music; you don't really have to look any further than the This Feeling catalogue.

We love Paves, The Wholls; Hello Operator, The Sundowners, The Elephant Trees - to name a tiny, tiny few.

The list goes on!

PHOTO CREDIT: Tarquin Clark 

If you each had to select the album that means most to you; which would they be and why?

For me, it's Radiohead's OK Computer. It gives me happiness and nightmares, all in one. My dad brought me up on it. It was the first album to really make me want to create music myself.

Thom Yorke is a genius.

Ross: Ok Computer is my fave too, but, because you chose that, I'll go with The White Album. It's so varied. There's classic Beatles songwriting like While My Guitar Gently Weeps and Happiness Is a Warm Gun - but then there's plenty of humour, fun and weirdness on there, too. 

Cry Baby Cry is on there too - and it's an absolute masterpiece!

Rich: Yeah, I was going to go OK Computer too, but maybe something a bit more obscure…

Big Whiskey & the GrooGrux King by Dave Matthews Band: amazing songwriting - and I was going through a tough time when it was released. It was the first time I sat and learned an album from back to front. Carter Beauford is a massive inspiration on my playing. He's ambidextrous too - I'm sure you were wondering. Haha.

Suffice to say: many hours were spent pouring over the album in a rehearsal room on my own.

What advice would you give to artists coming through right now?

Don't succumb to the pressures of modern-day music: don't try and make yourself into something you're not. The whole ‘we need to be edgy’, ‘weird’ or ‘cool’ questions may pop up from time to time - and take away the focus from what's important…but fu*k all that. Stay totally true to yourselves and work hard.

Respect each other and don't forget why you picked up your instrument. You're all on the same team!

Finally, and for being good sports, you can each name a song and I’ll play it here (not one of yours as I’ll do that).

I'll go for The Shimmer Bands’ What Is Mine (please, Mr. D.J., sir)

Ross: Baby - Paves

Rich: Brave New World - The Blinders (top new tune from our Doncaster brothers)

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Follow Bang Bang Romeo

FEATURE: “If You Had to Save One Disc from the Waves…”

FEATURE:

“If You Had to Save One Disc from the Waves…”

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IT feels like I am attending a Radio Addicts Anonymous meeting…

IN THIS PHOTO: Current Desert Island Discs host, Kirsty Young

when I pull up a stool and nervously averted people’s gazes. It is with tame acquiescence I confess this: I, group, am a Desert Island Discs obsessive. Maybe that is not such an embarrassing confession but, such is the gravity and influence the series has had on my life, I find myself repeating episodes in my head. If the moment Tom Hanks freezes after a question – when he was on the show on 8th May, 2016 – and chokes back the tears does not get to you - then you might be technically dead. Maybe it is the strangely likeable turn from Ed Sheeran or the unexpected appearance from Bruce Springsteen. I love Caitlin Moran and Sue Perkins’ incredible turns; Jimmy Carr’s unexpectedly fine musical choices – the man chose Beyoncé and Kanye West among his eight discs! – or whatever it happens to be…one cannot deny the addictiveness and compelling voices one gets from Desert Island Discs! I am, rather annoyingly, only now initiating myself to the endless pleasures of the show. The fact Desert Island Discs has reached seventy-five – and still looks fantastic in a bikini.. – means I have over seven decades of castaways to investigate! No worries because it is a task I am willing to undertake. I think, among other things, it is Kirsty Young’s incumbency that has really hooked me in.

Maybe it is her East Kilbride pronunciations – those ‘hard Hs’ are enough to make the soul sing (je suis amoureux!) – or the fact she can relax a guest to the point of seduction is entrancing – one is convinced she could get a mass murderer to confess their sins, rehabilitate and find God within the space of a conversation. It is a Sunday fixture I ensure I am committed to. The reason for penning this piece – aside from indulging my own radio habits – is to raise a genuinely interesting question! By the way: if you have not listened to Desert Island Discs, I urge you to get your earlobes around it. Anyway; let's return to my point, shall we? Every week, Young guides her guests through a series of question-and-music intervals where she would ask them about an aspect of their life – before they/she introduces a song of their choosing. Each castaway – so-called for obvious reasons – gets to select eight discs (one imagines classic 33/45 R.P.M. formats) that they are allowed to take to the island – where it is, nobody knows; each guest goes to a different one. They are, in addition, allowed a book (they get a copy of the Bible and The Complete Works of Shakespeare) but get to select a luxury, too. I recently posted a similar piece casting myself, in ludicrous long-shot probability, in the mantle of a castaway on the show. My luxury was/would have been a photo of my family but, thinking I could well picture them – rendering a single shot rather meaningless – I changed my answer to a water purification kit and penicillin.

It seems rather un-luxurious but, if one is stranded on an unknown island, the chances are there is going to be an extinction of clean water – thus, they would painfully perish within days were they not equipped to purify the abundance of salt water around them. It would sustain my long enough in order to acclimatise to the unique and hospitable ecosystem. I would forage for food – being a pescatarian means it would be fish-rich – and, one assumes, be susceptible to infections, illness and various-assorted maladies. If I were allowed a ‘bundle’ option of the two: that would seem like the best luxury ever – the chance to extend my life is, in all honesty, far more material and pragmatic than a trampoline or a tin of deodorant (neither, to the best of my knowledge, have been selected as luxuries). I digress but, working up to my eventual point, I would select a music-related book – possibly a thorough biography of The Beatles (with photos and interviews) – that would keep me company and suffice my voracious appetite for all things sonic. Every time I immerse myself in an episode of Desert Island Discs; I follow, with great interest, the musical choices of each castaway. There is a fascinating psychology hearing one’s musical predilections and the reasons attached to each.

IN THIS PHOTO: Tom Hanks and Kirsty Young

As Tom Hanks explained when he was on the show: each track should represent a special moment or connect you to a meaningful time in your life. That is what the finest music does to me so, tasked with the option of salvaging only one record from the cruelty of the waves, chills my balls to the core. Why one would have eight discs and no turntable – an old-school Walkman, perchance? – is beyond me but one dare not quibble with the ecumenical and divine purity of Desert Island Discs. I would evoke such glee and fulfilment from curating an octet of songs: the reality of reducing that impressive eight-piece to a single survivor is heartbreaking. One might as well ask me to decide which of my vital organs I want to donate to a local cannibal. That is, you’ll forgive, post hoc ergo propter hoc, but it contextualises a similar egregiousness (I would get rid of my heart because I feel I could deliver a James Bond-worthy quip before I saw it stop beating). The fact I am a journalist means, constricting a library-full of musical desires into a briefcase-sized carry-on of eight, is a tricky predicament.

I think Caitlin Moran – a proper journalist (unlike myself) – felt, with mock-horror, the same kind of stress when faced with that conundrum. I would have to choose, for sure, one track from The Beatles, Kate Bush and Jeff Buckley: my Holy Trinity of musical idols. I would, gun to head, select Kate Bush’s Strange Phenomena; Jeff Buckley’s rendition of The Way Young Lovers Do (from his Live at Sin-é album); I would then....oooh…say, Got to Get You Into My Life from The Beatles. That penultimate cut from Revolver would not only be a perfect way to kick-start a day on an island – it is a fantastic song that is able to elicit joy and redemption in harshest of circumstances. Four and five would have to be The White Stripes’ Truth Doesn’t Make a Noise (from their sophomore album, De Stijl) and, um, Tears for Fears’ Everybody Wants to Rule the World. The latter, because it is, literally my first memory of life – and, therefore, my first experience of music. The former is from one of my favourite acts and a song that would evoke fond memories - and a better time. I would need another female voice so I would have to Björk. In regards her music, I would pick Big Time Sensuality (from Debut). My last two choices would be a little unexpected...

Well...T. Rex were a huge influence during my childhood so I would have to go with Metal Guru (as it is one of their earliest songs I remember) and, believe it or not, Benny Goodman’s Sing, Sing, Sing (With a Swing). That song is full of life and energy so, it would be a good contrast to the more downbeat and contemplative records. It would be incongruence to spend too little time limiting your musical existence to eight discs - but I reserve the right to interchange and alter my selections at any point. I am pretty certain about The Beatles, Kate Bush and Jeff Buckley – Tears for Fears would need to be in the rundown. At the very end of each edition (of Desert Island Discs), Kirsty Young always poses that question: “If you had to save one disc from the waves…which would it be?” She delivers it with such chocolate-rich warmth, but it is like a stab to the heart. Forget what would happen if I ever had to answer that question on the show: if I were actually on a desert island and faced with that reality…I don’t think I would be in a position to make a quick decision. This feature is less about promoting Desert Island Discs – it does not need me to do that – but get people to think about why a song is so special and why a particular track would defeat all others.

Are music and unequivocal certainty likely bedfellows? Can one limit their passion to a single record and how easy is it to narrow your entire music knowledge to that solo choice?! Does one, if battling the water, select that disc based on its emotional connection or a particular relevance. For me, when going for that one record; I would have to go for the one that manages to connect my downs and highs in life: my whole education of music and all the emotions that interweave and socialise with those disparate things. That seems like an impossible expectation but, when you are provoked, the mind and soul can make that decision. Each person will have their own reasons for selecting a single record but, for me, it would have to have that importance and relevance. I could not make the decision idly but, pressed with very little time, I would instinctively lunge for that record that would, essentially, be my only company on the island.

Forbidden from bringing anything sentient with me: that one record would be the only other voice I would ever hear. Many castaways, when prompted, chose a female voice for their choice – a warmth and maternal spirit seems more nourishing and welcoming than a male voice – whilst others attached romantic significance to their choice. For me, being a blank canvas when it comes to grand relationships. My criteria is based on my childhood, growth and realisations. None of my eight selections is, I think, younger than fifteen-years-old. Actually, since typing this, I have had to substitute one record (not sure which) with a Talking Heads song, I Zimbra (from Fear of Music) - or maybe I should just leave it be. I don’t think I could survive without the band so, you see what I mean?! Rationalising eight records above everything else in music is difficult: how does one choose a sole survivor?! One of the great things about Desert Island Discs is how each guest explains their attachment to a particular track. Understanding the importance and story behind each is fascinating to witness. Every definition is unique and shows how broad, meaningful and universal music is. I take music for granted in this day and age. Given the access one has to nearly every track every recorded – how willing would we be to sacrifice luxury and the expansive of musical exploration? One can, at the click of a mouse, access a playlist of of-the-moment songs or Jazz classics. We can hear anything we want and, of a day, be privy to an incredible array of genres, sound and suggestions.

I shall wrap this up – as the darkness is coming in and I feel like I need to hunker-down on the island – so, before the waves come in (and I, for some reason, would not patrol my records like a rabid German police dog), I will have to clear my thoughts and allow rationale and logic dictate my near-impossible choice. I wanted people to think about their musical education and passions; why they bond to certain songs and what, for them, defines a perfect song. Whether the anthem for a celebratory moment or the song you heard whilst falling for your lover – there are so many scenarios and configurations that mean a certain song takes prominence above all else. It is really intriguing to find out each person’s story – and why they are attached so fondly to that song. Given the negative peripeteia that is about to befall me: I must run to the bank and, before the water envelopes and digests all my cherished records, I shall desperately grope for that cherished and chosen chattel. It would be interesting to hear everyone’s thoughts and feelings when faced with a similar predicament – and whether they have different reasons why they bond to certain records – and what they would do at that frightening moment. For me, I would flash each song through my mind, and, considering factors of importance, childhood imprints and personal attachment; I would have to save…

IN THIS PHOTO: Sue Perkins

THE song below…

FEATURE: Sexual Expression and Exploitation in the Music Industry

FEATURE: 

IN THIS PHOTO: Nicki Minaj

Sexual Expression and Exploitation in the Music Industry

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WE are living in a time where there are more cracks and…

IN THIS PHOTO: Tinashe

issues in the music industry than any other time in recent memory. Few can argue against the fact there is sexism and inequality in music: this is a known thing and something that needs to be addressed. I am not sure why, in 2017, it is challenging getting festival organisers to change practices to allow more women to headline. In fact, the word ‘allow’ seems very condescending – like they are children/animals that live in permissive and submissive boundaries. That is, actually, what is happening. There are female performers filling festivals’ lineups but there are so few headliners. I don’t buy the fact it is a case the best female artists were busy when this year’s lineups were announced – one of the rationalisations from Glastonbury’s organisers – or there are few ready for the challenges and responsibilities. I do not buy into that shared lie: why are the boys more ready and able to shoulder the pressure of a festival headline?! I think there is an indoctrinated and deep-set sexism that does not exclusively extend to men. Maybe music, for years now, has operated as a boys’ club.

The only way we can make changes – something everyone wants now – is to start NOW and inspire others. The seeming unwillingness to compromise and open a dialogue is infuriating. It seems, alongside the sexism we find in music; there is a degree of sexual exploitation that has been evident for years now. Maybe it is not a new phenomenon but, with the visibility of musicians and the fact social media/music-streaming makes it easier to get one’s face/body on the screen – are we heading down a very bad road? Before I bring my own thoughts into the debate; I want to source a couple of articles written a few years back. In the first piece, by The Huffington Post in 2014; Laura Duca’s article added a unique perspective on the debate:

“The discussion surrounding the hyper-sexualization of the music industry is much more complex than pointing out that everyone is wearing thongs now. Things have certainly gotten sexier. But there’s a fine line between defending the artists and slut-shaming them. The precarious divide between sex-positivity and pandering to the male gaze is a challenge all female performers face. With her upcoming film, “Beyond The Lights,” Gina Prince-Bythewood has found possibly the closest thing they have to a solution: authenticity.

“I have two kids, so the normalization of the hyper-sexualization is troubling to me,” she told HuffPost Entertainment. “I thought that it was important to talk about that, the underbelly of the industry. All we see are the fun parts of job and all of the great shots on Instagram. There is another world that we’re not tweeting about. It’s tough for female artists, there’s a blueprint they are forced to follow.”

IMAGE CREDIT: @NikitaKaun

In writing “Beyond The Lights,” Prince-Bythewood was very interested in the way personas are formed, especially for young female artists. That “blueprint” refers to the way they are turned into brands, forced to throw away any sense of self in pursuit of an image.

“If you are not fully formed yet and you come out with a specific persona, you lose your sense of self,” she said. “You don’t feel that who you are is good and enough and worthy of love. You’re fearful that if you ever drop the persona all that love is going to go. I mean, it is like a drug.”

IN THIS PHOTO: Katy Perry

Another article, written by Australia’s Daily Telegraph in 2014, talked about the contemporaries videos/artists seemingly showing an unhealthy amount of flesh:

“WOMEN’S bodies sell. We all know that, but perhaps no industry understands this, and uses this knowledge to its advantage, more than the music industry.

In the last few months there seems to have been a feminine flesh-fest, full of twerking tooshes titillating their prepubescent viewers.

The sexualisation and exploitation of women’s bodies is all-encompassing.

Nicki Minaj’s hit Anaconda features dozens of women gyrating their exposed flesh to the lyric, “My Anaconda don’t want none unless you got buns hun.” Classy, isn’t it?

Miley Cyrus created waves as she swung, completely nude, on a wrecking ball. Robin Thicke pushed beyond normal boundaries of decency with his pornographic and pro-rape Blurred Lines. This week controversy is swirling around Jennifer Lopez’s collaboration with Australian superstar Iggy Azalea after their Booty clip was released. The star of the video? Women’s derrières.

The clip features steamy, sexualised images of the two women in a puerile, porn-inspired dance — rubbing their backsides together.

Come next week will there be another artist trying to make money by selling women’s bodies?

They might be masquerading as empowered femininity, but what are they selling?

These female artists are selling the message that women are nothing more than accessories. Women are only of value as sexual objects. My daughters and your daughters are taught to conform to this narrow sexualised, unhealthy norm.

The message is incessant. Our boys grow up believing girls are really only here to be a boy’s “new thang”.

In fact, one more piece - http://humanhuman.com/articles/women-in-the-music-business -, written by Hannah Thacker a few years back adds another dimension:

“That is not to dismiss the existence of artists who have taken control of their sexual identity (cue respectful nods to Laura Marling’s phoenix-like return and FKA twigs’ challenging ideology), but as KATE BOY’s front woman, Kate Akhurst, highlights, there’s “a confusing message of power” surrounding the female body, and we should all strive to clarify this issue. Evidence of this disorientation in the responses seem to focus on one symbol, Beyoncé; for some she’s an inspiration, a teacher, a source for quotes, but for others her less-is-more dress sense leaves them feeling perplexed as to what equality actually means.

That being said, Beyoncé is more than aware of this misdirection as illustrated in her internet-breaking feminist essay, “Gender Equality Is A Myth!” I just hope that statements like “Humanity requires both men and women, and we are equally important and need one another” (Beyoncé) become a reality, so that gender inequality will be the myth. Many of our contributors feel very strongly on this matter:

“I hope that the over-sexualising of female artists will die down or just become irrelevant to music buyers. It’s been encouraging to see artist like Haim and Lorde grow just based on their talents and not by how much skin they show.”

— Niki Roberton, IAMSOUND Records

IN THIS PHOTO: Jennifer Lopez and Iggy Azalea in the music video for Booty

That is enough of other people’s interpretations but one sees a correlation and consensus. Reading more of the piece above; the discussion about sexism looked at festivals and the reasons few women, even a few years ago, were being robbed. Thacker argued (there is an assumption) few girls have the talent to deserve a coveted headline slot: there was a surfeit of talent among female artists that meant they were going with the tried-and-tested make option. I will come back to sexism and festivals but, alongside sexual exploitation, it is a side to music that need to be eradicated. There are, I warrant, women in the music industry who showcase sexuality and the feminine form. Let us draw a distinction between the expression and womanly: against the salacious, seedy and semi-pornographic. Artists like, say, Laura Marling, Björk and Bat for Lashes will, in videos and album covers, present versions of themselves that show their wiles, femininity and sexuality. It is this kind of ‘sexualisation’ that is completely natural and understandable.

They are not selling their bodies and offering something unseemly and provocative. It is the artists that weaponise sexuality that is causing offence. The articles I have sourced are largely from the 2013-2014 era: a time when certain music videos – from the likes of Miley Cyrus and Run the Jewels – were presenting the female form as objects. Being a man, I am one of a small band of journalists actually addressing the topic. That is not to say, by omissions and silence, the male race is culpable by association. There are plenty that shares the same revilement and concerns as me: it is, however, the case it is men, and male executives, dictating this disturbing practice. It is quite distressing, for me, being one of those men who, when presented with a very sexual and alluring video, will watch with interest. Does that mean, when one is interested (aroused, in fact) by these videos, they are as much a part of the problem? It is a complex debate that extends to industries like film and T.V. It is not quite as rampant there – and there is stricter censorship – but, if one saw a film with an age rating; they are forewarned there will be a certain degree of sex, violence and bad language.

IN THIS PHOTO: Rihanna

It is a great omission – in the pejorative sense, you understand – that there are not the same restrictions and prohibitions as one finds with films. The argument concerning sexualisation in music rears its head when certain videos make their way onto the news. There has not been a slew of outraged voices and articles for some years which suggest the issue is not as prevalent. I argue it is no better than it was but, worryingly, people are becoming immune and there is a greater sense of detachment. As part of my job; I have to watch a range of music videos every week. I look at the new Pop, Rap and Indie videos and, largely, the videos are not that offensive or memorable. You get quite a few, mind, that still treats women as objects as appendages. One might see a Rap video where the hero is cavorting with three/four scantily-clad women atop a BMW. One can say that has been part of the culture for decades but, given that view, should we be imposing controls and limitations?!

IN THIS PHOTO: Run the Jewels

Maybe certain genres are more synonymous with sex and exploitation but even saying that seems ridiculous. It is the case there is a large chunk of ‘Urban’ artists who use derogatory and sexist language in their music and, as a continuation of their lexicon, conceive music videos that continue this narrative – curvaceous and shapely women writhing around the hero. It is not reserved to genres like Rap and Hip-Hop. I know full well there are certain bands that employ women in their videos, in effect, to get their rocks off. I see so many videos that are, basically, the male lead getting off with a woman for an unnatural amount of time – seemingly, a vicarious way of indulging that Rock star fantasy. If kissing/sex is integral to a video plotline, that is fair enough – many treatments are doctored to include needless sex and sexualisation.

IN THIS PHOTO: Zara Larsson

There is an argument that suggests there are double standards at play. If a man were, say, very good-looking – and they were cavorting with a woman – that has appeal because the parties are attractive. If a less-than-appealing man were doing the same thing, then is that much worse?! Perhaps there is the flip-side that feels it is okay for sexually desirable people to indulge in hyper-sexuality because there is aesthetic value and a currency that does not offend the senses. I know there are men who expose their figures for videos; there are women who are happy to use their bodies to sell music but, even if someone is comfortable doing that, does it make it right?

It is everyone’s right to have their say and do what they want (to an extent). If a female group/performer wants to strip or expose parts of her body – why is it down to other people to be self-appointed moral guardians?! Again, one must draw the line and be consistent with judgement. One case-study of a woman whose sexy and memorable video has been a source of inspiration and empowerment is Kylie Minogue’s Spinning Around. One need only read that song title and one’s mind goes to the video: Minogue shot close-up in those now-famous gold hot pants; gyrating and alluringly dancing in time to the song. There is no doubt that video provoked dancing, copycat videos – and, yes, attraction and arousal – but is that an exception that proves the rule? Why is that video empowering and fine whilst a Rihanna video offensive and morally suspect?

IN THIS PHOTO: Nicki Minaj in the video for Regret in Your Tears

Can we divide and compartmentalise without contradicting and obfuscating? It is important not to accuse and blame certain answers: we are not exonerating or assuming any form of sexual expression is bad. I am an advocate of free expression and sexuality. There are women, as I say, who feel empowered and rebellious when they show their sublime figures – whether there are slim or plus-size). Artists like Beyoncé do not have marketing men telling her how to dress and what to do in her videos. She takes control and, as such, has used her body and femininity to convey the strong messages in her songs. How is that kind of sexuality fine and others wrong? It is about rationality and looking at the wider picture. It is perfectly fine for the occasional/appropriate use of sex/the sexual in videos – the same way it is in T.V. and film.

The young generation is impressionable and exposed to more of the world than in any other time in history. My concern relates to the mainstream where there are certain genres/artists who use each video as a chance to see how far they can push themselves – how much controversy they can create. Even if acts like Katy Perry and Tinashe pose in bikinis without portraying a sexual message – songs about L.A. and the beach requires the artist to be dressed for such occasions – is it sending out positive messages? It is important to teach a young woman to be proud of their bodies and not to be repressed and cowed. I have mentioned Beyoncé who, since her Destiny’s Child days, has used music as a pulpit of empowerment, equality and girls’ rights – showing they are a lot stronger than they are given credit for. These positive messages are being undercut by a wave of artists who are using their bodies to get streams/views. It is hard policing and patrolling the borders of YouTube without impinging on someone’s creative and human rights.

IN THIS PHOTO: Jason Derulo

YouTube and other sites are getting better at ensuring videos are not too exploitative, explicit and offensive. It is hard drawing lines and providing rationale. Madonna’s video for Like a Prayer caused a huge stir in the 1980s: there are older videos where the artist has caused a stir by flaunting too much flesh or engaging in behaviour not deemed appropriate for younger tastes. A few years back, the music video Robin Thicke’s Blurred Lines caused a stir for the images and scenes it depicted. Is there a validity and demand for sexually expletive videos? Are we in a time when the more salacious and controversial the video; the greater number of people will view it – and, as such, more money and press is generated? I will bring this to a close soon but I worry it is seen as acceptable and profitable for female artists to get their bodies out in order to shift records.

IN THIS PHOTO: Beyoncé 

I have mentioned double standards and we must be clear of the times when there is fun and empowering videos where the amount of sexual content is acceptable and, often, inspiring. It is the needless and crass degradation one sees in many contemporary videos that need to be curtailed. It is not only female artists but extras and actors used in videos that are part of the issue. Women are judged as being perverse and shameful if they express their sexuality and prowess: men are congratulated and seen as sexually assertive. There is a double standard and I am hugely supportive of women showing pride in their bodies. Whether they are plus-sized or not: being proud of their form and physique is a wonderful thing – in an age where there is stigma and judgement levied at women who do so. One cannot escape the litany of adverts who ask whether a woman is beach-ready and sexy.

It is now so integrated into everyday life that there is desensitisation in music. We can compartmentalise so that the acceptable/empowering videos; those where there is fun and harmlessness are put into one corner: those that perpetuate this idea as the woman as a chattel/object is put in another. When one divides the two, it is shocking to see how many examples of the latter are evident. How does one restrict the sexual exploitation in an industry where there is so much pressure on artists boasting viewing figures and making their videos visually engaging?! It is a vicious circle but it is clear there needs to be impositions and infractions. It seems sexual exploitation is becoming normalised and rationalised to a large extent. I shall finish by bringing in an argument/article by The Guardian – again, around the time of Miley Cyrus’ Wrecking Ball video – that raises questions and adds new input. Kitty Empire was the first journalist (in this piece) to have her say:

“Most adult pop consumers ought to be able to roll their eyes at Miley Cyrus's antics. But it is incredibly distressing that young girls' idols are constantly teaching them that their willingness to "party" is a girl's strongest suit: not their brains, or their sense of humour, or their own unique way with a key change. And as a feminist who is also a music critic, it depresses me deeply that female pop performers find it difficult to market their songs without licking mallets in the buff (as Cyrus does in the video for Wrecking Ball).

Pop performers – male and female – are often exploited by managers and record companies, but I don't believe that Cyrus is being forced to twerk by her handlers. She knows what she is doing – although any grudging respect I had for Cyrus as a businesswoman evaporated when she turned on Sinéad O'Connor in such a repellent way”.

Rhiannon Lucy Cosslett gave a balanced view when drawing lines – if the sexual content is empowering (and ordained and suggested by the female artist) then how is that worse than the same level of sexual explicitness in a different context?

“There's no doubt that women have become more and more sexualised in music videos in the last decade or so. I remember my mum being horrified at Christina Aguilera's Dirrrty video – the one where she's wearing those crotchless leather chaps and gyrating in the boxing ring (pretty tame by today's standards), but at the time I couldn't see what was wrong with it. I remember the argument, during which I protested that if Aguilera said that her half-naked dance was empowering, then who was anyone else to take exception?

Of course, I didn't really realise then that the music industry is mostly run by men, and that no matter how empowered an individual woman may feel about nudity, the apparent need for female artists to take their clothes off to sell records isn't exactly a good thing for our gender. Watching the recent Miley Cyrus documentary, I was of no doubt that this was a woman in control of her own personal destiny, but that doesn't mean that I don't feel sad that the male to female clothing ratio is so obviously off-kilter. That said, I really don't like the "put it away, love" comments Rihanna's new video has been attracting either. I don't have an issue with the naked body – it's the fact that women always seem to be the only naked one”.

Around this time; provoked by Miley Cyrus’ video; Alex Macpherson addressed Sinead O’Connor’s slut—shaming open-letter that followed the furore:

“For Sinéad O'Connor, the best way to dismantle male dominance was not to go after any actual men in the industry but to rev up that noted vehicle of genuine concern, the open letter, and use it to deliver a torrent of slut-shaming that was so feminist that it repeatedly used the term "prostitute" as a derogatory insult.

Cyrus hardly emerges a heroine herself. Certain racial aspects of her latest incarnation, such as using black female dancers as anonymous on-stage props, go beyond pop's usual magpie approach to appropriation into uncomfortable territory.

Despite being a capitalist patriarchy, though, the music business can also be a terrific vehicle for the voices of women and minorities – and what's unfortunate about this kerfuffle is that the most interesting aspect of it, Cyrus's latest album, Bangerz – a glorious record of freestyle-influenced club tracks, overblown theatrical ballads and hoedown country raps – has been overlooked.

IN THIS PHOTO: Miley Cyrus

There were voices in the piece that argued a song like Wrecking Ball did not warrant that level of revelation and nudity. Is it a case of imposing limits and discussing sensible boundaries for artists? Does this take away that idea of empowerment and free choice? VV Brown offered her thoughts:

Her talent is obvious and there is something about her new direction that propels an idea of rebellion and control. But is she empowering herself as she becomes the artist she wants to be? I question empowerment expressed in this way but I also ask why we, as women, can't be proud of our sexuality? It's a strange pendulum of morals and liberation.

As an artist, I appreciate the naked body. I have even done a naked fashion shoot. However, all artistic statements are judged contextually. Perhaps the controversy is in the delivery of her statements and the context of her past?

Despite all of this, feminism should be about solidarity first. And what's wrong with being naked anyway?”

Bim Adewunmi, in the same piece, highlighted how there is no such Cyrus-like outcry if the female in question is black. That equivalent sexuality is seen as racial empowerment and advancing racial equality. Is it a sin that is reserved to white artists?! That is another aspect to the debate but, in concluding, it seems past discussions like Miley Cyrus’ Wrecking Ball fall-out are relevant today. The so-called age limits imposed on certain videos can be easily subverted and hacked; the Internet is not secure enough to prevent all impressionable/young artists from seeing explicit content. There are moral arguments we can throw around all day but I feel there is a greater prevalence of sexual exploitation in videos tha ever before. Do we place the blame of record labels who look for big figures and infamy or those responsible for safeguarding us – and imposing guidelines on sites like YouTube? It seems like there needs to be greater vigilance and, in a wider sense, less reliance on the idea we need to use sex to sell music. It is 2017 and, with many tackling the plight of sexism in the industry, are these revealing and provocative videos…

MAKING the possibility of sexual equality impossible?!

FEATURE: Morrissey: A Rare Genius

FEATURE:

 

Morrissey:  

 A Rare Genius

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THIS will not be a hugely authoritative and biography-heavy…

things but, instead, a loving nod to one of the most extraordinary songwriters who has ever lived. This piece is fuelled by two different occurrences. The first is the fact the biopic, England Is Mine, has been released and met with muted applause. There are a lot of three-star reviews that commended the film’s lead, Jack Lowden, but criticise other aspects of it. The fact we are supposed to be fascinated by that pre-Smiths period; the man of the hour did not approve of the film or provide blessing – one imagines he would rarely crack a smile so it is no surprise – have all gone into the brew. I have not seen the film but, gleaming reviews; it seems to be one reserved for three die-hard fans. It looks like a fascinating glimpse into a clumsy, ambitious and isolated young man and his time growing up in the North – just before he met Johnny Marr and went to form The Smiths. I am not given to over-romanticising Morrissey because he has his flaws and is very outspoken. His stance on animal welfare is passionate but often misguided – to the point hyperbole and righteousness detaches from the ethics and moral reasoning and becomes personal attacks on people who eat flesh. I am not a meat-eater but would never speak about animal cruelty/murder the way Morrissey does. Those kinds of outbursts are not reserved to carnivores: the man has taken shots at the monarchy and large swathes of society. He is, however, refreshingly honest and unfiltered in a time when people are incredibly self-conscious and wary of what they say online. One suspects he does not take to Twitter too often but, in an age where social media is as much a force for bad as it is good – the likes of Morrissey are remnants of a time when there was simplicity and directness. Mancunians (and northerners) are renowned for their wit and humour but also their plain-speaking tongues. There is nothing unusual about Morrissey but, when reading a New Statesman article that suggested the biopic was misguided – and Morrissey does not deserve to be seen as extraordinary – that is where I take umbrage.

PHOTO CREDIT: Ebet Roberts

One cannot claim The Smiths frontman has not made an immense impact on music. My first encounter with Morrissey was, actually, through his solo album, Your Arsenal. That album arrived after 1991’s Kill Uncle and a rather rough creative period. That album was given poor press and negative reviews. Many felt the album was tired and rehashing previous work. Your Arsenal arrived a year later and was an incredible turnaround. It was sharp, muscular and inspired: Morrissey back to his very best. You’re Gonna Need Someone on Your Side has a swagger and introduction similar to Footloose’s theme – in a strange way – but is a rollicking and riotous cut from the former Smiths man. In-command and at his acerbic best: a track that beautifully kicks off proceedings. The album borrows shades from other artists – Rock ‘n’ Roll Suicide’s riff/sound can be heard on I Know It’s Gonna Happen Someday – but, largely, it is the hungry and talented artist back on top. The National Front Disco addresses right-wing politics and fascism – Morrissey copping heat because of its references to extremism and racism – whereas You’re the One for Me, Fatty is the man at his humorous best. It is a dexterous and all-killer, no-filler album that benefits from the musical impetus of Alain Whyte – and Morrissey feeling the need to regain momentum and relevance. I investigated subsequent solo albums and love Vauxhall and I – the 1994 album that is commonly seen as his pinnacle as a soloist – and 2014’s World Peace Is None of Your Business. Both albums are very different in terms of themes and compositions but Vauxhall and I, I guess, complete that incredibly ripe period – following from Your Arsenal; there was a lot of determination and inspiration in Morrissey’s bones. Spring-Heeled Jim, The More You Ignore Me, the Closer I Get and Lifeguard Sleeping, Girl Drowning are some of my favourite songs from the master. I could vacillate about the solo work and all it holds but I am, like many people, adoring of Morrissey because of The Smiths.

I wanted to avoid using a song title in the title of this piece as it seems rather wasted and tragic. Whilst the actual title is a little vague; one cannot define Morrissey by a single song. The Smiths’ 1984 eponymous debut remains one of the most influential records from all of music. In a period where nothing like The Smiths had ever come about: it was a blast of light witnessing the Manchester band come to music. Formed in 1982 – I shall not get into the background and famous meeting – but feel, at that time in music, The Smiths’ arrival was hugely unexpected. Among the finest albums of 1984 were Sade’s Diamond Life; Bruce Springsteen’s Born in the U.S.A. and Prince’s Purple Rain. Some world-class albums, for sure, but nothing remotely like The Smiths. There were few standout British albums that year so, when the quartet released their debut, few people were prepared for them. There has never been a composer as individual and malleable as Johnny Marr. The way he could create searing guitar stabs and semi-orchestral rushes – almost within the space of a verse – is unprecedented and laid down the mantle from a unique and extraordinary band. Not forgetting the contribution Mike Joyce and Andy Rourke made to the band – their bass and percussion were pivotal elements in the overall sound. As much as I love their impact and talents; the incredible compositions of Marr – it is the wordplay and performances from Morrissey that makes the music stand out. I love the band’s debut but feel they went on to better things. This Charming Man is the standout from that debut and has gone on to be one of the most-respected and best-known songs from the band. Its unforgettable chorus and vivid verses stick in the mind. The hero not going out – not a stitch to wear, as it seems – and the isolated bicycle: that sense of loneliness and incredible magic one gets from the song. It is a rare form of poetry and storytelling from a man who would have been taking from his own life.

One of the reasons I connect with Morrissey is his loneliness and place in society – not feeling like he fits in and being able to connect with other people. Of course, the songs did not all speak of these troubles. The young songwriter ate and devoured literature and culture. Right from their earliest moments; characters and controversy came into the music. Morrissey would address murder, incest and sexual abuse alongside romance, dreams of being killed in a car crash and a girlfriend in a coma. There is that malice and unsettled vibe that sits with immense humour, sardonic wit and personality. In everything is passion and incredible intelligence. The first two albums can, debatable, be argued as less memorable and enduring as their final two. The debut remains essential because it was the first: that arrival and unexpected brilliance. The songwriting is incredible throughout but, apart from the odd number here and there, I do not revisit it a lot. I tend to bond more with The Queen Is Dead and Strangeways, Here We Come. Meat Is Murder contained the phenomenal How Soon Is Now? and remains one of the band’s finest songs – not on the original album but added for the U.S. version. That sense of awkwardness and going to the club: being rejected and standing alone in the corner – whilst being sountracked by that stabbing, epic guitar-playing from Marr. The Headmaster Ritual and Barbarism Begins at Home, between them, contains yelping, corporal punishment and satirising out-of-touch teachers. They are staples and highlights from the band but are not matched by other songs on the album. It got a warm critical response but, in my mind, it was Morrissey’s words and subjects that brought the album to life. Growing in confidence as a songwriter and singer; one could sense changes coming in and a natural evolution. Less reserved (vocally) than the debut: Meat Is Murder is a much more inflamed, boisterous and variegated album – both composer and lyricist pushing themselves like never before. This all reached fever-pitch heights on the follow-up: the band’s hallmark, The Queen Is Dead. Again, 1986 contains no other albums like The Smiths’ third L.P. It is a complete and fantastic work that, like Morrissey’s finest solo works, contains absolutely no filler.

Not only is The Queen Is Dead one of the best albums of the 1980s but the apex of Morrissey’s songwriting. His lyrics were at their sharpest and most emotive. One cannot listen to Cemetry Gates – where the hero reads inscriptions and finds mordant romance in departed poets – and not be encapsulated and entranced by its peculiar narrative. The title track opens proceedings with so much fascinating humour and spit. It is Morrissey’s commentary, insight and wordplay that perfectly matches Morrissey’s rampant and driving composition – one of his finest from the cannon of The Smiths. I Know It’s Over is one of the most striking and stirring from a band who were in no short-supply of emotional offerings. Morrissey’s sense of foreboding and claustrophobia makes the song one of the most unforgeable and haunting from the band. One suspects, like Cemetery Gates, some of the poetic greats were running through Morrissey’s mind when writing this. Bigmouth Strikes Again, turning the focus on himself, is about the outspoken and too-quick-to-speak. It addresses the frustration of being hounded and being forced into a corner – that pressure leads to some misguided comments (where the narrator has to confess he was only joking). Comparing himself to Joan of Arc – where her “the flames rose to her Roman nose” and the Walkman melted – it is a unique and brilliant take on a subject that, at the time, was not as common as it is now. The same can be said of the longing and romantic frustration one hears on There Is a Light That Never Goes Out. Many would rank this song as The Smiths’ finest. It is considered one of the greatest ever songs, and with good reason. One cannot ignore the contribution by Marr: that luscious and symphonic score that perfectly articulates everything Morrissey puts into the lyrics. The doomed-but-humorous combination was Morrissey’s stock-and-trade, but here, it is at its most defined and luminous.

Strangeways, Here We Come completed the band’s career – they would split in 1987 – and is s fitting and fine swansong. Containing Morrissey and Marr’s favourite song, Last Night I Dreamt That Somebody Loved Me, it is a fantastic album that builds on The Queen Is Dead’s eclecticism – even if it does not reach the astonishing heights of that record. There are fantastic moments from Morrissey throughout that album but it is tracks four-through-six that that showcase how fervent and consistent his imagination was. Girlfriend in a Coma is a short-but-not-so-sweet song that finds an ill-fated girlfriend near to death/in a near-death situation – never explained how she got there – and the hero semi-genuine in his terror and upset. It is a perfect distillation of Morrissey’s patented combination of wit and tragedy. Pathos and triumph; sarcasm and doomed romance all within two-and-a-bit-minutes. Stop Me If You Think You’ve Heard This One Before – an album with many long-titled songs – again looks at physical upset and trauma. It is the last track of the trio that, for me, defines Morrissey’s songwriting. That sense of false alarms and being safe from harm: all false, unsettled and unreal. The song title’s literal meanings cannot be misinterpreted but it is the way Morrissey presents that feeling of being alone and sharing his bed with nobody – a song that would have resonated with so many listeners at the time. It is a stark, sad and hugely revealing song that perfectly says goodbye to the band. It proved we would be hearing more from Morrissey’s incredible pen – sadly the band would call it quits before the album hit the shelves. It is not only the writing through The Smiths’ career that fascinated me. Morrissey’s singing remains unique and emotion-rich. The way he phrases lines and twists them to his own means has meant the songs have transcended from the fantastic to the peerless. Few singers have that crooner-like sound that manages to stretch and bend in all sorts of directions.

In looking at the continuing genius and influence of Morrissey; one cannot ignore every facet of his creative personality. From his work with The Smiths through his solo career – there are few that have the same attributes, talents and tells as Morrissey. He is an endlessly fascinating character and, let’s hope, there are more albums arriving from him. Perhaps England Is Mine is not the film he would have wanted to see about himself (one imagines he would have preferred to be left alone altogether) but there is an enormous affection for the Northern poet who, over thirty years since that first album, remains incredibly influential. Even if songwriters are not name-checking Morrissey; it is clear their work, subconsciously or not, derives from that early work. I can hear comparative put-downs, quips and revelations from new songwriters. None match the height and scope of the man but that is not to say they are vastly inferior songwriters. Morrissey is one of those once-in-a-generation artists that cannot be replicated or cloned. One only need listen to an album like Your Arsenal or The Queens Is Dead to witness endless emotions over the course of a few songs. There are few that can take you from laughs to horror; right through to tears and mock-outrage as the man himself. He is a legend of music who feels, like the dearly-departed poets in Cemetry Gates, deserves special real estate in the graveyard of the legendary scribes – not to get ahead of myself or morbid; I think he would approve. There is something unfashionable about loving Morrissey in 2017: he does not fit in with the cool and trendy mainstream and seems like his best days have passed. That said; the music community owes his songwriting brilliance a debt of gratitude. Those too-rebellious-for-school artists and slick-haired bands might be on your side but, you see, the wonderful and endlessly irrepressive Morrissey…

IS on mine.

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TRACK REVIEW: January - Whelmed  

TRACK REVIEW:

 

January

 Whelmed

 

9.3/10

 

 Whelmed is available at:

https://www.youtube.com/watch?v=_P2NKukB6vY

GENRES:

Ambient; Downtempo

ORIGIN:

Los Angeles, U.S.A.; Brighton, U.K.

RELEASE DATE:

27th April, 2017

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I might be doing this backwards…

but this is my second time approaching January. I interviewed her last week promoting her album, Whelmed, and what its inspirations are. Now, I am charged with reviewing its title track that is a few months old now – the way of things with reviews is you can get to things a little late. I have had this on the diary for a while because other stuff has come before it. Whilst I am a bit late to the party, it gives me a chance to address a topic that few reviewers get a chance to: retrospective appeal and looking at music later in time. I will talk about January and her stunning track but, before I do, I want to look at retrospective appeal and its importance; some of the best female artists and why their influence and talent is so important; moving from L.A. and the appeal of Brighton; strings and bringing compositional elements together; competitiveness in the industry and artists trying to make a name for themselves – looking at how to build social media numbers and the importance of exploiting the venues of this country. I shall start by having a look at that first point and looking at music further down the tracks. I feel one of the biggest issues journalists have is the fact they have to encapsulate and define a song/album/E.P. when it is released. Often, they have to distil their thoughts to a few paragraphs and react to the music in the here and now. This gives us an unclouded view but, I wonder, does it truly represent music and its true nuance? Some tracks do not have that depth – that compels revisiting further along – but I am finding myself questioning assumptions and views. A lot of the tracks I review I like at first but, some, tend to lose a bit of their appeal a few weeks/months away.

The reverse can be true: a little underwhelmed by some music; only to find it grows and gains new relevance very soon. You do not really get a chance to revise reviews and attack it again. I have been reading reviews of current albums and wonder, in a couple of months, will those journalists still hold the same views about that work? It is interesting looking at January in this context and a song like Whelmed. If I were coming to in a few months ago, when it was released, I would have had my views and a particular standpoint. I feel, coming back to it weeks/months later, everything would have changed. What does one do when their initial assumptions prove to be false?! It is an interesting point but I guess that is the limitation of journalism. We must capture and define work when it arrives and do our best to predict its long-term effects. It is intriguing waxing on the point but I think there should be a mechanism in place to allow writers to go back and reassess certain albums. Artists like January will get a slew of sites tackling her music when it arrives but, once that is done, they will not remain with it and continue to dig into the song. It will be left there so how hard is it to keep promoting the music when journalists have moved onto the next thing? It would be good to have journalists that can come to songs a little while after they have arrived – reviews do not need to be conducted as soon as a track is out. For me, I get the opportunity to approach a song that I have been listening to a while. I am coming in with fresh ears and get to combine all my experiences of the song – from that initial assumption to the emotions and possibilities captured in the months following that. It is fascinating to me because I feel there are albums in the mainstream that get one type of response and then, you think, journalists are going to change their response the more they listen to that work. Do we expend adequate time and attention when it comes to reviewing work? There is that need to get a review out and have something produced quite quickly – that means you are not giving the music proper attention and regard.

IMAGE CREDIT: Finlay Cowan Subway Slim

When it comes to January’s latest video; I wanted to wait a little bit and allow its textures and essence to do its work. I shall come back to that but, until then, wanted to look at American artists and living a city like Los Angeles. For January; she is recording in her Brighton studio and living down here now. It is always baffling (to some) that anyone would leave L.A. and somewhere that seems quite ideal. It is like London a lot: many assume it will be perfect but there are problems and reasons why some favour other areas. It is easy to see the impressions and fingerprints from L.A. in January’s music. She has absorbed from the local scene and artists around her; taken from the landscape and employed strands from her new home. I am really interested in the Los Angeles music scene and why it is so compelling. That seems like tautology but it is very hard to capture everything going on there. It seems like a perfect place for an artist to create music of the highest order. In sheer terms of the geography and ecosystems there; there are no other places quite like it. You have the beauty and rolling hills; the beaches and tanned bodies – the bustle of the city and a sense of cosmopolitanism. Away from that, there are charming bars and cafes; a blend of nationalities and cultures in L.A. – go further into the state and one will find hidden wonders and some incredible places. All of this cannot help arrest and infuse curious creative minds. For January, one suspects it is a combination of her home and influences that go into her music. I shall not go into the artists currently rocking L.A., as she does not live there anymore, but one can do their own research. I feel America gets more attention because of its politics and situation – as opposed its music and fantastic sounds. January has learnt a lot from her early years but, even though she is here, it makes me wonder how much of the sun, situation and heritage she brings to her music. I listen to her songs and I get transported to L.A. I have never been there but one can definitely hear embers of the sea and sand; something about the hidden retreats and the complexity of the humans who inhabit the city. One gets a real clash of elements and sounds that can either represent the blend of languages/peoples in L.A. – maybe it is something else at work. In any case; I love the music she provides and know she still carries L.A. in her heart.

IMAGE CREDIT: Adeline Sumney

I will talk, actually, about YouTube and videos in a bit but, before coming to that, a little bit about Brighton. There is so much to address with January but, given the fact I know she is recording in Brighton right now, a chance to talk about the city. Having visited there a couple of times recently, I can attest as to how vibrant and varied it is. January might refute my claim but – even though I have not been to L.A. – there is, perhaps, comparisons to her home? Maybe the people of Los Angeles are not as laid-back as in Brighton but you get a clash of the modern/quirky and beautiful. On the one hand, you can explore The Lanes and the unique shops and spaces one can explore. I get lost in those shops and all the colours, scents (many of which can be quite ‘vivid’) and possibilities. There is the High Street and the more mainstream shops sitting alongside the charming businesses one finds down The Lanes. These alone must provide writers with enough to put into their music. Even if they do not directly address them: the sheer influence and impact goes into the imagination and sits into the consciousness. Away from the streets and shops; one can go down to the beach – it is very close by. If one goes there; you can get a traditional sense of the British seaside and what it is all about. There are shops that sell rock – all claiming to be Brighton’s best – and there is the pier. Walk on the pier and you encounter an arcade and stalls; little shops and people watching the sea as it crashes against the shore. The beach itself is pebbled but, when hot, is crammed with life and adventure. It is the more relaxed and scenic part of Brighton. Transition into the night and the city explodes with colour and sexuality. There is a huge L.G.B.T.Q. scene there and, when it gets dark, one sees a different side to the city. The nightlife is incredible there and it is a thriving and eye-opening experience. January has all of this around her so, one wonders, how much of the new music is going to be compelled by her current home. Maybe L.A. goes into her album and earliest work but, knowing there is new material taking shape, will that resonate to the beat of Brighton? It is interesting to speculate – and I look forward to receiving that music and getting to grips with it.

Before I come to my pre-approved themes; I have been watching January’s video for Whelmed and the kind of reaction it is getting. I am baffled why certain artists/songs get the attention they do. Whelmed is a gorgeous video that took a lot of effort and planning but, so far, has only accrued meagre views on YouTube. There are few views and comments – a few people have given it a thumbs-down. It seems people are not really listening and watching: simply trying to discourage an artist and ignoring the true depth of a work. I look at a video like Whelmed and wonder why it does not have more views and love than it does. Perhaps there are so many artists out there that mean it is impossible to wade through and decipher the best. I do not really buy that because, if one has a P.R. company behind them (like January does), there should be more done to ensure their videos get necessary attention. YouTube is a platform that allows music videos to get to millions around the world. The biggest Pop stars often rack up eye-watering views and, sometimes, it can be tens-of-millions. I do wonder whether these views are coming from teen audiences and whether these numbers reflect quality – it seems a lot of it is down to popularity, credibility and celebrity. That is all fine but it rather muddies the waters. Take a new artist like January and she relies, to an extent, on sites like this get her music promoted. Seeing Whelmed collect a small numbers of views – and no feedback – makes me question the validity and role of YouTube. Do we take the time to thank an artist and give them some kind words?! There is such disposability to music and we get into a habit of watching videos and leaving it there. In the same way reviewers might be wise to re-explore music – in order to understand its true hidden truths and full effect – maybe we should take more care when encountering a music video. It is disheartening seeing an artist put so much work into a video – only to see it not get the numbers it fully warrants.

PHOTO CREDIT: Hugh Fox

It is merely a consideration but, why would an artist like Lorde get so many views and someone like January a comparative paucity? The quality between the artists does not reflect the gulf of numbers. I mean, Lorde has celebrity and that established career but it proves a lot of the video views comes from hype, celebrity and popularity. January deserves the same sort of epic viewing figures as Lorde (and her peers) and I feel something needs to be done. Of course, January is someone who gets her videos and music promoted by various sites and has a solid fanbase. Having a P.R./management company behind her; there are other hands ensuring the music gets out there and covered. One can argue how important and monetising things like YouTube is when it comes to an artist’s career and prosperity. I think the music itself is the most important thing and, so long as it is good as it can be, that is the thing. Artists do rely on streaming services and sites like YouTube to get their music to more people. It is not an easy solution but it irks me seeing fantastic artists giving such modest attention. January is a compelling and entrancing act that has her own sound and deserves a lot of love. Maybe it is the case the waters are quite busy and it might take longer for her true talent to be recognised. Saying that; she has fans here and in the U.S. so there is a lot of love out there for her. The female singer-songwriter sector is hotting up and busier than it has ever been. Even if an artist is original; their sound can often be similar to someone else’s. In January’s case, there are a lot of artists who have the same blend of atmosphere, grace and tranquillity in the music. How easy is it bonding with all of them and discovering the nuances of each? Maybe the industry is becoming too crowded and undisciplined: it means people like January – who has an incredible talent and sound – is getting lost in the sea of like-minded artists. It may sound like a negative and foreboding forecast but I am defending her with venom. She is someone that deserves enormous acclaim and should get enormous love on social media and music-streaming sites. I will talk about her upcoming material later but, for now, I shall move on to look at artists who inspire January and the sounds she brings into the music.

Björk has, with her typical wit and unique insight, explained her forthcoming work is her “Tinder record”. One can imagine the puns journalists will employ during the reviewing stages – swiping left and right; corny, half-baked dating jokes – and the kind of aspects one can discover when the album comes out. Like Björk; January is, in her current work, exploring love and its effects. One suspects; the way Björk is talking about her album: it is an L.P. that documents her dating experience and having to move on after splitting from a long-term partner. Whether sex and sexual exploration forms a large part; there is the mystery and unpredictability of love – I am looking forward to seeing what is on the horizon. January, on Whelmed (album and song), looks at love and how it is complex. When interviewing her, January revealed how romantic love is never easy and all of her music, to some degree, is about relationships and being immersed in someone. That is why her album’s title track is so meaningful. It is about being wrapped inside a person and fully engrossed in a relationship. One can draw comparisons to Björk and her contemporary mindset. Maybe the Icelandic legend is going to take a more casual and freewheelin’ approach to sex but one suspects there are going to be paens about deep love and affection. I wanted to talk about Björk because, for artists like January, they must be indispensable and mind-blowing. She is a huge influence for me but, for a musician, that effect cannot be underestimated. Look back at her career and the way she fuses strings and orchestrations with nervy and anxious sounds. Right from her Debut album; one gained a real emotive and physical impression. Songs would gallop, swoon and endeavour: the heroine let her voice fly and would explore new realms and worlds. As her music developed; new sounds and ideas were laced in. Björk, actually, started to invent her own instruments and, on some of her more recent efforts, she created apps. and ways of distributing her music. That is the story of a true innovator. It is not only the case she inspires musicians because of her incredible and always-shifting music: as a person; she speaks out against sexism and addresses issues that many would overlook.

PHOTO CREDIT: @mrhughfox and @helkiloves

A passionate and determined soul who uses her voice in a variety of ways. I can sense a connection between Björk and January. Whelmed is a song that contains the same sort of aspects one might discover in a Björk album like Post and Debut. Even if, in terms of vocals, there are differences; I hear compositional inspiration for sure. January knows how important Björk is to her but, when discovering the beauty and haunted nature of her latest song; I get impressions of artists like Enya. Here is another artist January name-checked in our interview and, when listening closely, you can definitely hear her impact. The Irish singer has, throughout her career, produced some of the most beautiful and sweeping sounds one could imagine. I am a fan of her classic moments and can lose myself in her music. That is true when one hears January. She mixes in the boldness and string articulation/mixes of Björk but has the vocals and passion of Enya. There is, in so much as she is inspired by the likes of Chopin, a great knowledge of Classical music. January grew up listening to Classical and Electronic music so it is no surprise finding both these genres come into her work. I am a champion of artists using strings and unexpected tones in their music. For one, it fuses the synthetic and natural into one. For another, there is that balance of symphonic and edgy. If you can create darker sounds from the electronic elements and bring in the warmer and more enriching strings – that is a heady blend that is hard to turn down. This is what one experiences with January’s music and one has to thank her idols for that gold dust. I will come back to this point later but, given the fact Björk has teased new music, I am confident we will see a lot of new artists come into music that name her as an influence. Over two-decades since her debut; she is someone who no equals and provides incredible, strange music. It is beautiful and worldly; it has all manner of emotions and stories running through it – nobody can deny what an impact she has had on modern music.

PHOTO CREDIT: @mrhughfox and @helkiloves

I am keen to move on to January’s Whelmed but, before then, a slight return to social media and venues in the country. I have argued why someone like January has not gained more social media fans than she has. There is a great fanbase behind her – and many publications have featured her work – but, I feel, following and fandom should directly correlate with quality. That may be terrible naïve but, I think, artists that accrue the biggest streaming figures/YouTube views are the ones that are not, necessarily, as strong as the new artists coming through. Whether there is an easy way of ratifying these concerns and constructively remedying the imbalance has yet to be seen. There are piecemeal changes but I worry how detrimental and disenchanting it can be, for any artist, having to work tirelessly for a modicum of attention. Maybe that is the harsh nature of music but, for January, I have every hope that she will be a big proposition in years to come. The music she is producing at the moment is exceptional and makes me wonder how far she can take it. I feel there are venues and fans out there that would welcome January in and provide her a lot of love. Not only does she have the splendour and diversity of Brighton where she records: there is a cavalcade of various-sized venues that would be perfect for housing her music. Green Door Store is a wonderful venue that, normally, puts on heavier acts – Rock, Indie; Hardcore etc. – but puts up a whole range of different sounds. I would think someone like January could get a gig or two there and find some new support. I have often walked past The Greys – down Southover Street – and from its ironic turquoise outer walls; it is a pub that showcases wonderful live music for the people of Brighton. That is another cool and warm part of the city I would like to see January perform in. Latest Music Bar, down in the recesses of Manchester Street, is a fantastic space.

PHOTO CREDIT: Hugh Fox

Throw into the mix Prince Albert, The Haunt and Komedia and, I feel, January could curate a mini-tour of Brighton. There is a world in London she could succeed in: take that further through the U.K. and so many venues I would love to see January take charge of. Maybe this will be a reality when she puts new music out but, given the strengths on Whelmed, I know that record will find passionate and ardent support in various parts of the country – Brighton is the perfect place to start that campaign. I shall move onto Whelmed next but, a few moments before getting there, offer some encouragement to January. She does not need my patronage but there is so much about her that I fall for. Not only is she incredible striking, intriguing and down-to-earth but her music and attitude to her craft are seriously impressive. Her songwriting is among the strongest I have heard in a long time and, having worked with British D.J.s and gained huge experience in this country; she has indulged her love of Electronic music and worked with fantastic Classical talent. I will allude to that in the context of Whelmed but here is a young artist who has a width and determination that will see her succeed and endure. I know the future is hard to predict but, knowing where January has come from, I know where she is going. I have completely involved myself in songs like Whelmed and am struck by how personal and meaningful it is. Not only a song that means a lot to its writer: its words and meanings can be extrapolated by every listener out there. It has such heart and courage but a universal beauty that gets into the heart.

PHOTO CREDIT: @helkiloves

There are whispers, suggestions and the feint air in the opening seconds of Whelmed. It brings in mere tinkles and shimmering strings; there is rustle of the breeze and the openness of nature. In many ways, it has that blend of Classical composition and a certain Icelandic superstar. One immerses themselves in the view and walks alongside January. It is passionate and curious; compelling and soft – you cannot really articulate (clearly) how meaningful and unexpected it is. Rather than rush in with heavy strings or vocals: January gives the song a chance to wake up and percolate. The arms stretch into the morning and the sun rises from over the hills. When she comes to the microphone; one gets the impression here is a young woman who might be wrestling with troubles. She does not want to go somewhere – nothing good awaits – but, knowing the song deals with new possibility/love, it seems like a transition piece. Maybe she is shedding off her worn skin and keen to embrace a new way of life. There are all shades of blue in her mind. Her heart is not beating the way it should and it seems as though things are getting rather intense. The desire to forget about a bad experience and find some escape comes through. January’s voice is tender and breezy. It has emotion and determination but is kept restrained and delicate. There is a certain tease and allure to the performance that means you are sucked into the speaker and, as such, go deeper into the song. I was hooked by the sound and affect the voice had on me. There are a lot of singer-songwriters like January who have that aesthetic and sound – in a busy market; that is always going to be way. I know a lot of female artists who are compelled by the likes of Tori Amos and Björk – and have a wistfulness and attachment to the environment that feeds into their music. Looking at Whelmed’s video and one sees the heroine by a waterfall and enraptured by her mood and surroundings. This strikes familiar visions in me – and have seen a few videos like this – but there is something unique about January. She does not follow others and, when it comes to her lyrics, this is very much taken from her own life.

The voice hovers, rises and strikes as the heroine reveals how she will be on her own. She is on her way and leaving behind that blue and heartache. Maybe there is a man in mind and finding hope – after a period of instability and loss. The Copenhagen Cello Quartet provides strings for the song and brings something majestic and soothing to the song. It is easy to fall for January’s voice as it has a blend of maternal instinct and otherworldly charm. It is light and sweet but one discovers a definite physicality and sexiness to it. That combination of infantile and womanly is hard to conquer but it comes naturally to January. As the song continues, it is easy to assume we find endless heartbreak and hopelessness at work. The heroine is overcoming bad days but, it seems, there is definite hope and new adventures afoot. There is no point in feeling/being left behind, as it is said, and the heroine’s friends have been caught in the riptide before. She is not drowning in the water: it seems she is drowning in the man. It is interesting hearing her sing about regrets and that notion of movement. Maybe older love has weighed her down; that anchor has shackled her feet but now, perhaps, there is a reason to be optimistic and not be fatalistic. That sense of being near the edge – and close to drowning, perhaps – is rescued by a man. Perhaps that is an overstretch...but it seems like a new horizon is here. One gets impressions of a woman who is going through a new process and experiencing a freedom. That liberation and new lease are evident as January’s voice weaves and waves in the breeze. The song never gallops out the gates: it is serene and light throughout. Inside this calm is a definite sense of expression and passion. Few will listen to the song and not feel like they can relate. Many of us have been through similar experiences and, whether romantic bonds or personal fights, we have all encountered change and hope.

PHOTO CREDIT: @helkiloves

I know how personal this song is to January and it is one she holds very dear. Maybe, before, there was a period of isolation and hurt. Relationships are hard and it might have been the case she was with the wrong person. Now, there looks like there is sunshine and a relief ahead. Whether it is a new man or a realisation that has compelled this song – moving on from the bad days and getting away from the shipwreck. As the song progresses, my mind changes and I wonder whether there is that overriding hope and happiness. We see the heroine walk into the water in the video and it seems there is more at work than meets the mind. I would like to think new love has given her a reason to be uplifted but it seems the demons of the past continue to do their work. I come away from the song and need to go back because it has complexities and obliqueness. Electronic elements come into the song and bond nicely with the strings. It is a combination that gives the song new life and meaning; it has dark and light working alongside one another and provokes all sort of memories, possibilities and images. Whelmed is an addictive song who chorus and vocals will stick in the mind. The lyrics will compel possibilities and various interpretations. I know January is inspired by love and takes from relationships when writing. There are those bad times expressed in the song but, in my opinion, something pure and new – a fresh relationship that casts away the shadows of the past.

I have been involving myself with January and everything about her. She is an artist for whom I hold reservoirs of affection. Her music needs to get to as many people as possible and I feel, genuinely, she has enormous potential. There are no confirmed dates for her at the moment but that will all change. She has mentioned how she is returning to writing after a year-long hiatus. I guess, without snooping in her business, she was dealing with personal demands and the way life gets in the way. Her own lexicon and situation is complex; but I guess there are good reasons why there has been this gap. In any sense, she needed to step away for a bit and take some downtime after recording an album. Love and relationships form a big part of her music: maybe the downsides of a bad love affected her work-rate and mindset. Perhaps, in all honesty, she has been working with other musicians and looking for fresh inspiration before going back into the studio. That is where she is now so, in the coming year, it will be interesting seeing what the result of all this is. January explained, in my interview, how she has been working with new artists and talent. This has kept her mind sharp and inspired; compelled her to make new material happen and dream big. One suspects the arrival of new Björk material will inspire January and compel her in some way. Not that she is the only inspiration at all. There are Classical masters and modern-day artists that drive her. As she said, when I interviewed her, it is important to take from the giants and learn – one must provide their own narrative and not take too heavily from the narrative of others. This comes through crystal-clear in January’s own music. I know Whelmed is a few months old but, returning to my earlier points, that is something that does it a favour. What I mean is it is a song that has complexities and richness. It unfurls all its colours and secrets the more you listen to it.

I opened by talking about retrospective reviews and whether we should invest time in an album/artist after they have released. We review material as soon as it comes out and only have a small window to define that work. One does not give it times and allows the songs to fully unwind. That is the drawback of journalism but I wonder whether artists are being given a fair crack. Artists like January have that rush and energy to get the music out there and get reviewed. When albums/songs come out; it gets to magazines and sites. They will take it and share a few words about it. There is such a snow-storm of attention and focus in a relatively brief space of time. Once all that attention has fallen away; that is it and the artist must take it upon themselves to keep the momentum going. It is worrying music relies wholly on that instantaneousness and initial burst. I know journalists cannot re-review work and hold onto its for months on end. Are we, as consumers, expending appropriate energy and regard when it comes to new music? I often listen to new artists but will come back to them weeks after first hearing them. Many are buying/streaming songs and they will move on to the next thing sooner or later. There is that zeal to discover what is brand-new and of-the-moment. It means there is a big reserve of music that has that early affection – only to be overlooked and put into the cupboard very soon. Like a child getting excited by a present at Christmas: playing with it for a few days and then shoving it under the bed. January is focused on new material but I feel her current music should remain in the memory and get more attention. I keep repeating that point but it is one I will not let go. One has to PROPERLY listen to the music and keep it safe. It is no good hearing a new artist, listening to their music, and then discarding it. I have been guilty of doing this but I am feeling guilty about. My point is we should all be more vigilant, careful and considerate when approaching a new artist.

PHOTO CREDIT: Hugh Fox

I shall end this piece now – as I have a lot to crack on with today – but I wanted to bring all my early points together very quickly. January is recording in Brighton now but has come from L.A. I can hear strands of Los Angeles music in her own work – it is inevitable she would take a lot from where she came from. In hearing January’s music; one can detect landscape and people; her idols and upbringing. There is the diverse landscape of L.A. and all its beauty. The scenic nature and views; the polemics and clashes of the city and serene. Now recording in Brighton; she has the wonderful people and that appealing blend of shops and the beach. It is a relaxing part of the country but does have a very vivacious night-time scene. It is a city that has the same contrasts as L.A. but not as crowded and large. I guess that is important when she records and conspires – not feeling so cramped and hustled. I mentioned how January has been inspired by Classical music and Electronic artists. There is a real genre-mix in her music: one gets all sorts of tastes and scents when hearing a song like Whelmed. Few possess the same sort of passion, personality and panache as January. She is a singular being who involves herself with music and all its possibilities. I shall end this now but urge people, as I often do, to listen to January’s music and a rare artist. So evocative and entrancing is the music: it is hard to shake it off and forget about it. I am pumped to discover what the future holds for January but, right now, she is creating music that gets into the heart and…

 BRINGS you into a wonderful and unforgettable place.

_______

Follow January

FEATURE: Upcoming and Rumoured: The Big Albums Approaching...

FEATURE:

 

Upcoming and Rumoured:  

IN THIS PHOTO: Queens of the Stone Age

The Big Albums Approaching…

__________________

DEPENDING on your musical philosophical bent…

IN THIS PHOTO: Kylie Minogue

you might see this year’s releases as a success or abject failure – perhaps something in the middle. Laura Marling and Sampha have provided exceptional treats in Semper Femina and Process; Lorde has brought is the staggering Melodrama; English Tapas is the latest course from the always-reliable Sleaford Mods. There have been some unexpected disappointments (Royal Blood, Arcade Fire and Gorillaz) but, given there are over four months of the year left to run – a look at the albums that are yet to come…

_________

Rat Boy – SCUM 

RELEASE DATE: 11th August

Everything Everything – A Fever Dream

RELEASE DATE: 18th August

Ghostpoet - Dark Days & Canapés

RELEASE DATE: 18th August

Grizzly Bear – Painted Ruins

RELEASE DATE: 18th August

The War on Drugs – A Deeper Understanding

RELEASE DATE: 25th August

Queens of the Stone Age – Villains

RELEASE DATE: 25th August

Nadine Shah – Holiday Destination

RELEASE DATE: 25th August

Susanne Sundfør – Music for People in Trouble

RELEASE DATE: 25th August

INHEAVEN – INHEAVEN

RELEASE DATE: 1st September

PHOTO CREDIT: Ruvan Wijesooriya

LCD Soundsystem – American Dream

RELEASE DATE: 1st September

Nothing But Thieves – Broken Machine

RELEASE DATE: 8th September

The National – Sleep Well Beast

RELEASE DATE: 8th September

Sløtface - Try Not To Freak Out

RELEASE DATE: 15th September

Foo Fighters – Concrete and Gold

RELEASE DATE: 15th September

Phoebe Bridgers – Stranger in the Alps

RELEASE DATE: 22nd September

The Horrors – V

RELEASE DATE: 22nd September

Wolf Alice – Visions of a Life

RELEASE DATE: 29th September

Benjamin Clementine – I Tell a Fly

RELEASE DATE: 2nd October

Alex Lahey - I Love You Like a Brother

RELEASE DATE: 6th October

Liam Gallagher – As You Were

RELEASE DATE: 6th October

En Vogue – Electric Café

RELEASE DATE: T.B.C.

Tinashe – Joyride

RELEASE DATE: T.B.C.

RUMOURED

Charli XCX 

RELEASE DATE: T.B.A.

Kylie Minogue

RELEASE DATE: T.B.A.

St. Vincent

RELEASE DATE: T.B.A.

PHOTO CREDIT: Matsu

Tired Lion

RELEASE DATE: T.B.A.

FEATURE: The ‘F-Word’: Why Folk Music Deserves Greater Acclaim

FEATURE:

 

The ‘F-Word’

IN THIS PHOTO: Bon Iver 

 Why Folk Music Deserves Greater Acclaim

________

I will, actually, do another feature like this...

IN THIS PHOTO: Joni Mitchell

where I, without much provocation, launch to the defence of an entire genre. It may seem insane but there comes a point where you can only watch so much undue criticism before one needs get involved. Like a decent yet unspectacular wallflower being sneered at my the jocular, ‘cool’ kids: the headmaster has to get involved and bring about some order. In fact, scrap all of that for I am far too wet to explain myself. I have read article and some reviews who claim, without sufficient evidence, Folk is a genre that seems incapable of modernising and diversifying.

IN THIS PHOTO: Billie Marten

They claim – not naming any offenders; lest they be seen as humans – that Folk is a form of music that has not ascended from the simple and hippy-dippy strummers of the 1960s. Before I take my belt off and birch their bottoms purple; I will leap, rather insincerely, to their defence. In order to play Devil’s Advocate – what an awesome title for a show that would be! – there are a lot of Folk artists who, for some reason or other, are incapable of bringing about reappropriation. Whether you deem mainstream stars like Ed Sheeran as Folk or Pop: there is something about that kind of music that is leading journalists and listeners down the wrong course. Naturally, the majority of today’s Folk stars are not going to be at the same level as legends like Joni Mitchell, Nick Drake and Neil Young – nor will they, necessarily, play the same brand of Folk. The new wave of Folk artists drink in different bars and smoke a different brand of cigarette (no that I am condoning smoking: it does look very cool in the context of a Folk article!). Sure, the artists of today take from the greats of yesteryear: it would be incongruence were they to ignore and refute the legacy and inherence of their betters. Too many assume 2017’s flavour of Folk is either the acoustic-strumming kind one might have experienced during the 1960s –away from the incredible core of Folk legends – or is old-fashioned and outdated.

IN THIS PHOTO: Julia Jacklin (Photo for Happy Mag by Liam Cameron Photography)

The truth is; twenty-first-century Folk is among the most nimble and interchangeable types of music around – I think, only second to Pop. If one listens to artists like Nick Drake and Joni Mitchell, for example, they get to hear some of the best songwriting you could ever imagine. There is variation in their type of Folk but, largely, it tends to be traditional and ‘softer’, let’s say. The lyrics are incredibly rich and poetic but the compositions, perhaps, tend to stick within boundaries. Maybe there is the assumption Folk of now has not evolved from those days – they might love artists like Joni Mitchell but do not want to see that continue forty-or-so-years down the line. I feel there is a divisionism in perception that assumes Folk is rooted too heavily in the 1960s (or before). One of the reasons I wanted to write this piece is to show how far the genre has progressed. In 2017, there are a lot of artists who like to play the more contemplative and calmer variety of the genre. I will come to some examples but there is, on the other side, a whole group of musicians who bring in other genres – from Pop and Electro-Pop right to Alternative avenues.

IMAGE: The album cover for Bon Iver's 22, A Million

Take an album like 22, A Million: the sensational 2016-released wonder-work from Bon Iver. Justin Vernon is, at his heart, a Folk artist; yet he brings, in this album, so many different sounds and ideas. There are a lot of Electronic inspirations and odd vocal samples. He processes sounds and feeds some through machines: reverses them and creates trippy, far-out whispers. It is an invigorating and heady brew that is best left to the initiated – quite a daunting proposition for those unfamiliar. He is not alone in challenging those who feel Folk is too rigid and ‘square’. Even if you take two of my favourite albums from last year: Billie Marten’s Writing of Blues and Yellows and Julia Jacklin’s Don’t Let the Kids Win; you have a couple of modern, yet bygone-nodding works.

IN THIS PHOTO: Laura Marling

The former is actually my standout from last year because it shows huge maturity and worldliness – despite the fact its author is comfortable in her teens right now. Even though a lot of the music relies on the seductive beauty of Marten’s voice: the way she unfurls her imaginative and stunning songs gives one pause for thought. It is not the aimless and mindless amblings one assumes Folk music is about. Those who get confused between mindless Acoustic-Pop and those artists the Antifolk movement rebelled against decades ago – they pick up a guitar and numbingly mumble about broken hearts, unicorn farts and the government nuking them to sh*t. Yeah, we are in 2017 so there is, one hopes, a fervent brand of a protestor who articulates the cracks and frustrations that run through the spine of the country. Maybe there will be the odd artist who does not convey that anger with the same articulacy and passion as a young Bob Dylan – others who will do so with incredible depth and conviction. Marten, on paper, might strike you as a young songwriter who had not really advanced from the same sort of platforms (literally in some cases) one assumes a busker to play on. That is, frequently, covering other people’s songs with the same sort of energy one would associate with a dog that has just overdosed on morphine – with performances that evoke the same sort of shock and boredom. I grant you, it is complicated differentiating between the genuine pioneers and those who seem beholden to bastardize the good name of Folk. Going back to Billie Marten and she, like 2017-examples Fleet Foxes, Laura Marling and Jesca Hoop; produce music that has romance, fire and enormous nuance. The reason I wanted to single Billie Marten and Julia Jacklin for special commendation because they are young and new artists but between them created some of the finest music of 2016. Marten talked about mental illness, travel and escapism; literature, love and hopelessness in a record that brimmed with compositional innovation, sensationally tender vocals and incredible confidence. Jacklin took a more spirited approach when talking about maturity, her position in life and watching others around her ‘grow’ and manifest a more familiar-orientated life. The Australian newcomer is primed for greatness and shows just what variegated and strength there is in Folk.

This year; Mount Eerie’s A Crow Looked at Me collected songs that told the listener about the circumstances of love and loss between Elverum and his late wife, Geneviève Castrée Elverum (and their baby daughter). That is PopMatters’ distillation but it is part of a wider review that heaps praise on a deeply personal and entrancing Folk record. There have been many others this year that demand closer investigation and appreciation. Julie Byrne’s Not Even Happiness and Fleet Foxes’ Crack-Up; Feist’s Pleasure and Aimee Mann’s Mental Illness are very different and unique. Look at each album and, whilst tackling Folk and playing in the genre; they deal with different issues and, actually, sound very different.  I argue there is, not only misconception regarding Folk’s sonics but the lyrics one documents. If you take a few of those albums and it is hard to connect them. Aimee Mann’s record deals with some hard subjects and tackling psychological demands – there is a lot more besides on the L.P. – whereas Fleet Foxes’ Crack-Up is a more luscious and ‘accesible’ work.

The vocals on each differ greatly and, aside from sharing Folk D.N.A., there is nothing that suggests they were born from the same mother. Maybe there is a tangible link between, say, Billie Marten, Laura Marling and newcomers like Phoebe Bridgers: the first two have been compared down to their career trajectory and lyrical gifts; Marten and Bridgers share vocal sounds (even if their lyrics are completely distinct). Even artists who approach Folk with greater tenderness and less energy are doing fantastic things – so far removed from those noxious and lamentable Acoustic-Folk acts that garnered such reaction and approbation. Bridgers is a sensational talent I can see going very far. In fact, after Laura Marling released the incredible Semper Femina (baffled it was not shortlisted for a Mercury Prize); I am looking to Marten, Jacklin and Bridgers to see if they bring out albums this/next year. It is exciting seeing young female Folk artists create such world-class music.

IN THIS PHOTO: Julie Byrne

In fact, when I look at the progressive and established Folk brilliance – most of the names that flood to mind are women. Bon Iver, Fleet Foxes and Richard Dawson (his album, Peasant, is worth your time and money) are exceptions in a list that is largely female – when we think of the best Folk albums of the year so far. That is the same as last year, largely. I shall wrap things up but have been annoyed reading articles that have mooted Folk is past its glory days – if it had any at all! There is so much attention on Pop and mainstream artists that many Folk albums get buried and reserved for smaller audiences. Even if the Mercury shortlist does not include that much Folk; one cannot ignore the sensational and consistent joys one can discover in modern Folk. I did not want to go back in time and see why Folk has always been great – I have addressed that in previous articles. I wanted to demonstrate the fact modern Folk deserves appreciation and investigation on its own merits.

IN THIS PHOTO: Jesca Hoop/PHOTO CREDIT: Piper Ferguson

There is so much range and wonder to be found in a single album. It is a genre that is not chained to a particular sound and sensibility. Maybe it is not as racially diverse as other genres – comparatively few black or Asian Folk artists – but is a lot more balanced when it comes to gender and age. Anyone who thinks contemporary Folk does not merit transition to the mainstream – and proper acknowledgement and respect – needs to get their ears on the best albums of this and last year. I have collected a few songs below – taken from some of the best Folk albums of the past two years – that provides a window into a fabulous genre. Take time to have a listen and realise the ‘’F-Word’…

IN THIS PHOTO: Phoebe Bridgers

IS one we should be teaching everyone!

TRACK REVIEW: Duke of Wolves - Teddy Boy

TRACK REVIEW:

 

Duke of Wolves

PHOTO CREDIT: Richard Barber 

Teddy Boy

 

9.4/10

 

Single.png

 Teddy Boy is available at:

https://soundcloud.com/dukeofwolves/duke-of-wolves-teddy-boy

GENRE:

Alternative-Rock

ORIGIN:

London, U.K.

RELEASE DATE:

18th August, 2017

Recorded and Mixed by Ben Phillips at Lightship95 London

Assistant Engineer: Dan Guerrieri

_______

THE reason I am violating one of my golden rules for reviewing….

PHOTO CREDIT: Violet Verigo

is to investigate one of the best bands playing in London right now. I am reviewing fewer people I have already done so – because I want to discover new talent and not repeat myself to an extent. I have featured Duke of Wolves before but, as I am spending the coming weeks assessing unfamiliar artists; it is nice to return to an act I know can bring the goods. Before I come to look at the guys, there are a few different things I wanted to address. One, oddly, relates to professional outlay and some suggestions for the guys – music videos and making them part of the aesthetic. I wanted to look at the consistency of bands and that classic need for success and fandom. I will look at Rock and why now it is essential to foster the most varied and impressive acts; songs that go deeper and intrigue; gigs and bands who are growing into the live arena – and a bit about London and consistency. I shall start by addressing a band that, since their formation, have a very professional approach to their music. They do not get a huge amount of help when it comes to their promoting and recording – there is a D.I.Y. approach that many artists are taking these days. It is becoming popular because of music’s expense. If you are recording a lot of singles; the costs can mount and it is not often feasible at the best of times. Duke of Wolves employs a D.I.Y. sound because it is one that best articulates their gritty and raw brand of Rock. I will come to that later but it is the way they share and promote their brand that interests me. The guys do, not yet, have an official website yet but I can see that being the next step.

They have recorded a series of singles and it seems like they are starting to rise through the ranks. A one-stop portal for all your Duke of Wolves needs would be a great move from the band. As it is; their social media presentation is full and impressive. I know it is a point I keep harking back to but those acts who expend effort updating and volumising their pages are always going to go a lot further. I can see the band is keen for their fans to be kept abreast of everything going on with them. Their fan numbers are climbing but one imagines it is only going to be a matter of time before they are huge news. What keeps bringing people in is because they have a real professional attitude to every aspect of their career. Their sounds might be rough and tussling in places: that does not extend to the way they market themselves. This is a perfect balance to have in the music industry. It might not sound like the be-all-and-end-all in music but is can make an enormous difference. Duke of Wolves have a big following that is going to grow with every song they release. One of the reasons behind that is because they are proactive and give the fans pictures, updates and videos. Another aspect I love about Duke of Wolves is their music videos and how much attention they pay to them. I have heard from a lot of artists who do not like recording videos and think it is a bit of a hindrance. I cannot understand this because, in this age, there is no excuse to ignore it. If you really apply yourself and think beyond the ordinary; music videos can be great fun and lead to something wonderful. I understand how the cost can really put off a lot of artists. Even a simple video – skeleton crew and basic concept – can still run you to three figures. Many are choosing to shoot videos on iPhones and have that D.I.Y. approach. Duke of Wolves do not expend bucket-loads of money but still ensure their shoots are captivating, humorous and interesting.

Videos like Terry (The Serial Killer) and Hollow Eyes have different concepts but are really amusing and memorable. If a video sticks in the mind; you are more likely to come back to an artist and follow them. That is one of the reasons I am keen to see where the London band go. They produce a top-notch single and then, from there, create a video that adequately visualising their incredible lyrics and performances. The visual aspect of music is really crucial so it is vital artists realise how integral music videos are. Given the fact I am reviewing Teddy Boy: I wonder what the video will contain and how it will shape up. I can see 1950s' elements and greasers in leather jackets; bike gangs and something that spoof Grease, perhaps. I shall come onto the song inspiration but it seems, with this song, the band has the greatest chance to create something huge and career-defining. That might sound insane for a music video but, even with a relatively modest budget, given the subject matter at hand; they have the chance to go big. I shall not put ideas in their mind – and they might already have the video all locked-down – but the guys are one of those acts who take care of every aspect of their career. Such is the detail and passion that goes into each aspect; I know they will go far and continue to grow. I cannot express how important putting effort into social media/images is and what effect they have on a career. I see so many artists ignore photos and not really put effort into music videos. If their music is great – often, it is not – then they have only really addressed half of their career. Those who find the effort and time to put their everything into each corner of music – the rewards, given time, will be huge.

PHOTO CREDIT: Richard Barber 

Duke of Wolves, since I heard the first draft of Hollow Eyes, have really impressed. I knew, from that outing, they would continue to crack out fantastic tunes. It is always hard knowing whether an artist is going to ensure and evolve after the first single or two. In a heavy and busy market; getting people’s attentions is the biggest worry. There are so many options out there so, making an impact right from the off, is really something everyone wants to happen. How one does that is down to them but ensuring the music is original and big is, I guess, one way of doing that. In the case of Duke of Wolves; they go for the gut but are not one of the less-sophisticated and basic acts. What they do is combine classic riffs of Rock with something that marries Indie and Alternative. There are shades of black but they do bring colour into the palette. One of the biggest worries, in the early days for the London outfit, would have been crafting music that varied from their early stuff – that which pushed them on but kept the quality barometer high. The band managed to forge an identity early and, in doing so, knew exactly how their songs should come across. By that, I mean they were not endlessly toiling for that ‘perfect sound’. If you misfire with the debut single – or sound generic and predictable – there is a period where you are searching and formulating. This haphazard experimentation can put off a listener who wants something to bond with. If you hear an act that (un-deliberately) is scattershot and crosses too many genres – maybe that is a sign they are not quite ‘there’ yet. It is really hard concocting a sound that is instant and assured right from the off. The band did not form and then, a couple of days later, put out their debut. They spent time jamming and testing theories. From the days of Hollow Eyes and It’s Real; they have looked outwards and to characters, comedy and deeper subjects. Hollow Eyes was a fantastic song but, in terms of lyrics, the desire to have a relatable and classic-sounding template was evident.

PHOTO CREDIT: Bill Thomas

I bonded with the lyrics but find, in subsequent songs, they have broadened their pen and are looking at lesser-heard people, themes and ideas. Terry (The Serial Killer), as the name implies, had a very specific idea but, with the video too, brought some humour into the agenda – whilst keeping the music pretty real and stomping. Their latest track, Teddy Boy, in the way it alludes to looks, fashions and vanity – it seems to nod to past decades. Materialism and shallowness is something more evident and widespread in an age, now, where technology makes people’s lives open and exposed. The title puts the mind back to the 1950s, perhaps, and that is reflected in the song’s cover art – perhaps an angle they explore in the video? I can see how the band has matured in terms of their compositions and lyrics. They hit upon a fantastic sensation early but, rather than repeat themselves, have added new dynamics into the blend. There is a hunger to the band that reflects their name. They are carnivore and lusting; there is a lupine desire that means they push themselves with every new release. Making sure you are consistent and evolving is a balance that is really challenging. It takes time but, before you put a song out, making sure it is like nothing on the market is a key consideration. Duke of Wolves takes from Classic-Rock but never replicate it. They have their own sound and ideas – sprinkling this with beefy riffs and big choruses that have defined some of music’s finest moments. I am not sure whether the band is working up to an E.P. or are thinking of an album later in the year. I can see an improvement and strengthening with each new single. I cannot wait to see how their career blossoms and where they go from here. The London band have conquered one of the potential pitfalls: struggling to change and strengthen between tracks. If you are world-class from the start – which most is not – then that is fine but every act begins with a few rough edges. Smoothing those out is important and ensuring you can add something new to your music.

I will come to look at their latest single soon but, right now, wanted to address a big elephant in a small room. In today’s music, there are few Rock bands that really get under my skin. I have been looking around for future idols and can see very few options. I am not sure whether tastes and tides mean different genres are finding success. There is a big rise of Electro sounds and some fantastic Pop acts. I am pleased to see music changing and embracing new sounds. Actually, given the Mercury Prize nominations and it appears British Hip-Hop and Soul are really taking hold. That is encouraging to see but, take a wider look and one sees a lack of Rock options. I was, yesterday, chatting about The White Stripes and why their absence is so noticeable. I know Jack White is recording a new album but, his former duo, have long-since bitten the dust. I have a playlist of their best songs and, from their debut album to final bow, can see the changes and variegation. One can hear the undercooked and scintillating rawness of their debut and realise how inspiring and forward-thinking it was in 1999 – even if Jack White took a lot from older Blues and music of the 1970s. Go forward a few albums and the duo brought in new instruments and ideas. They continued to push themselves and ensure the music never became stale. It is the addictiveness and classic sounds they managed to craft that stand the test of time. Even on their final album, 2007’s Icky Thump, there were Scottish elements and Heavy Metal; all sorts of genres and sounds. They remained a Rock/Garage band but did not limit themselves to a particular form. I feel there are so many Rock artists who are becoming stale because they are not changing their sound. The simplistic and one-dimensional Rock sound is not going to impress people years down the line. So many acts are going to for the jugular-worrying hardness and epic sound. It gets a bit tiresome over time and suggests a lack of ideas. Bands like The Amazons, who were tipped for big things, showed a lack of differentiation and identity on their eponymous debut album. IDLES, a band overlooked for this year’s Mercury nominations, seem to have a lot more about them.

PHOTO CREDIT: Edyta K

They are an immense live proposition and one of the last bastions of edgy and sweat-inducing Rock. They have enough in their arsenal to suggest they’re going to remain for many years. Whilst I cannot see them employing the same sort of width and musical cross-pollination as The White Stripes; they are a solid and stunning act that has many fans. I see Duke of Wolves and hear a band that have the promise to, between albums, craft a White Stripes-like trajectory. Their debut, when it arrives, seems like it will be all about D.I.Y. Blues/Rock and something effective and uncomplicated. One imagines they will bring new elements into their music into subsequent albums. Maybe there will be White Blood Cells (The White Stripes’ third album) nimblenssness – an album that was more lush and varied but had that core sound – and then, further down the road, new instruments and elements (one need listen to Get Behind Me Satan and Icky Thump to hear how the duo progressed). Perhaps Duke of Wolves will not be as far-reaching but, in a scene where the monosyllabic Rock acts are dying and less-popular than before, there is the real need to push the envelope and bring in new sounds. It is quite sad seeing the dying-out of Rock and a lack of diversity. Maybe it is harder adding new dimensions to the genre but, with bands like Duke of Wolves, I can see some real promise. As they are now; their music has the same sort of gripping and physical aspect The White Stripes brought to classic records such as Elephant. One sees, in order for Rock bands to stick in the mind and revive the form; they need to learn from the likes of The White Stripes and one of the reasons they lasted for so long – because they switched sounds and do things differently on every album. I will come back to this point later but, hearing Duke of Wolves, I hope they think that far ahead and how future albums will sound. I love their music but fear, if they retain the sound they have in years to come – it might not ensure survival the same way as it would were they to bring new components into their music.

Not long now but, before getting to Teddy Boy, it is apt focusing on themes and ways to bring lyrical fascination into music. The song, as I will explore, tackles the way people focus on looks and what a person projects on the outside. How often does one look inside and bond to a person’s personality? Maybe there are those who will always be shallow and vain. In an age where social media is taking over; it is harder and harder to see people as actual human beings. We get advertising shoved down our throat and one wonders, given the digital nature of life, how easy it is connecting with people – let alone getting to know them on a deeper level, as it were. It is a subject that is being talked about in music and I am delighted Duke of Wolves are focusing on this. They could have gone for the easy and trite – another embittered love song – but has decided to talk about something important to them. Their songbooks have always employed unexpected avenues and it is another reason they are a fantastic act to watch. Whether they are looking at individuals and quirkier sides to life; the inequities and downfalls of a subject or wider themes – Duke of Wolves are a fantastic act that are broad and ever-changing. I can see this in their music which adds new colours and ideas between songs. I am excited seeing what their next track consists and where they go from here. On their fifth outing; it would have been tempting to revert to their debut and maybe looking at something quite anxious and suffocating. Instead, the band has cast their gaze to society and picking apart the shallowness and emptiness of life. That might be a bit of severe and heavy representation of Teddy Boy but it is an attack on the way we look at people on the outside – everything is about looks and images. Backing these lyrics is one of the most confident compositions from the band.

It seems Rock could really come back with a swing this year. I was left a bit disappointed by Royal Blood’s latest album, How Did We Get So Dark? It did not vary from their debut and, unlike that record, has not remained in my mind. It is clear, if they want to endure for years to come, they need to have a think about album number three. Putting new elements into their music; broadening it and shifting tone is the only way to get critics properly on broad. Maybe Rock is a genre that, if you go heavy and hard, it is impossible to be truly unique and original with every album. There are a lot of acts doing the same sort of thing and there is not as much room for manoeuvre as you get in other genres. There is always going to be a place for huge riffs and epic choruses so, with Duke of Wolves, there are ample opportunities. If Rock is becoming irreligious and weakening; the boys (and girl) of one of London’s biggest upcoming bands have plenty more to come. I know their music will take in new sounds and genres and that, in turn, will see their demand-stock increase. I hear there are whispers the band will be spending some time at one of London’s biggest music venues. There are great gigs for Duke of Wolves approaching and I know how determined the band is. I feel, in time, Duke of Wolves will be one of those festival mainstays and the London quartet is properly suited for all range of venues. They have a sound big enough to fill venues and get the summer crowds rocking. There is something sweaty and primal about the music that means it easily transitions into smaller spaces. Few acts are as adaptable as Duke of Wolves – so, it will be interesting seeing the type of spaces they play in the coming months.

I know the guys are ambitious but I wonder how long it will be until they start playing abroad. Maybe other U.K. cities are in their mind but, with a slew of singles under their belts, they will be looking further afield. I wonder if they have played cities like Manchester and Glasgow: areas that would herald their music and ensure they go down really well. I am not sure their U.K. ambitions but, being based in London, they have a wonderful city at their feet. The band has played some great venues around the city and they will want to capitalise on that. As they prepare new material and look ahead; they’ll want to keep busy and ensure their music gets to as many people as possible. I hope, when they can get the funds together, they consider Europe and North America. I see similar bands perform over there and getting a really good reaction. Europe, especially, seems like it would be very hospitable and welcoming. There are obvious nations that would bond to their solid Rock but, more than that, the people know a great band when they hear them. It is important, before then, to get that local training and reputation built. The guys have a great fanbase but there are areas and venues unconquered. Teddy Boy is a great chance for the band to tackle new spaces in London and built their reputation. It is the way they come across live that means people are hooked to their latest sounds. The band has been known to jump off things and really get the crowds moving. There is that physicality and epic swagger that means the people go away buzzing and satisfied. Few live bands leave such an impression so I urge the quartet to keep striving and take advantage of London’s wide and diverse live scene.

There is something modern-and-classic in the opening to Teddy Boy. The opening riff has binary gravel that means it switches to and fro – like a rapid see-saw that is gritty, grumbling and arpeggiated. It is a fast-moving and promising introduction that gets the listener engrossed. The song’s subject – the poser and mirror-hogging figure – is a teddy bear and softy under it all. Maybe, under the surface, there is a kind and honest heart but it seems like the boy is a bit vain and fake. Faison and false pretences are guiding the song and irking the frontman. The Queens of the Stone Age strands come through large in the initial moments. Frontman Jim Lawton has that Josh Homme-esque smoothness and falsetto croon that means the song has a familiarity right from the off. The percussion rumbles whilst the bass and guitar whip up a mixture of sounds and decades. There is the sway and cool of 1950s’ Rock but it has direct and urgent modern tones. The boy is flexing and quaffing his hair by the mirror. He likes a teddy girl and she, in turn, likes someone a bit rude and fake. One gets images of a man who sees himself as a James Dean-like figure who is the coolest human around. In a time where many are accused of shallowness and being image-focused; here is an exploration of someone who is creating a persona that is egregious, unseemly and a bit tragic. This sense of judgement and critique is perfectly represented by the band who keep the song fresh and bouncing. The percussion is hollow and punchy whilst the strings have a tautness and funky edge. Lawton ensures the vocal is engaging and emotive throughout. He does not keep his voice and dynamic singular and unyielding. When the story builds and changes: new tones come into the sound and he brings true personality to proceedings. One instantly bonds with the song because it has such a sense of fun and energy. The composition is not as snarling as earlier cuts from the band and shows their newfound sense of melody and contrition. There are sweeter female backing (from band member Sara, one would assume) and, I think, Orlando chips in with some vocal backing. It is his lead guitar – with Jim’s and Sara’s bass – that add the grit and cool that the sound represents. Tom’s percussion keeps things punchy and tight: together, it is an electric song that gets straight into the head and gets you singing along.

The body cannot help move as the hero continues in a questionable vein. He is “way past lying” and, when the chorus reaches, I notice some, dare I say, Pop elements. It is a lighter chorus than I am used to with the band and has a real sense of harmony and unexpectedness. They could have made it a huge and snarling chorus – full of accusation and bile – but they subvert expectation and provide something catchy and passionate. It seems things are past the point of denial and common sense. The boy is so engrossed in fantasy and delusion he is immune to any outside voices. I like the idea of a teddy boy and that older style. Maybe that title and idea seem to embody a general feeling of the fake and shallow. Not to suggest teddy boys past were deluded and bonding with something hollow. It appears, in this case, the soul of the hero is as empty as a pair of boots. I am not sure why he is like this but, maybe, it is a reaction to the image pressures of the modern day. Perhaps he is someone who needs to make a change and feels this new persona is a lot more confident and popular than his regular sense. I feel, conversely, he is a bit of a plank and someone who has been listening to the wrong people. The band are onto him and not keen to indulge any support and understanding.  It is hard to concentrate on the lyrics given the composition is so body-moving and intoxicating. You drink in the swivel and allure of the composition. The band has a fondness for Queens of the Stone Age but, rather than rehash their brand, they bring in British elements. I hear a bit of Muse’s Knights of Cydonia in the riff (the ending seems to have that sensibility) but there is that mantra – the boy is lying; no denying – and some incredible combined vocals. It is a rich combination of sounds but manages to retain simplicity. The band does not throw too many sounds into the song but keep things varied and nimble. The song has that twiddling and hectic riff; the lighter and open chorus and those accusatory lyrics.

PHOTO CREDIT: Hugo Lloyd-Winder

Put all this together and it leads to the fullest and most compelling song from the band so far. I can see they are pushing further away from acts like Queens of the Stone Age – in so much as their music walks too close to theirs – but retain enough to intrigue. Teddy Boy is a song that remains in the head and has a real kick in the tail. The lyrics get into the mind and you can appreciate where the band are coming from. Many of us know people like that (the song’s hero) and struggle to reconcile why they do this. The band is never too harsh but, at the same time, are aghast at the gall of the man. I am not sure whether it is a particular person who inspired the song – or whether a general commentary on certain types – but has interested me. I know the song will be really well-received and gain new fans. Teddy Boy has that distinct Duke of Wolves sound but pushes things forward. It is another confident and authoritative cut from a band who are growing stronger and more assured by the release. I cannot wait to see all their tracks combined into an album some day. Teddy Boy would be a great mid-L.P. inclusion and shows they are never willing to sit still and be content. A fantastic song from one of the strongest and most interesting bands coming out of London right now.

The band have a series of gigs before the end of the year but will, surely, look to get as much work as they come. Given the fact they have Teddy Boy out; this is an ample opportunity for the London band to get the song to the masses. I feel their gig at London’s The Borderline (on 2nd December) will be a pivotal date. By then, the song will be well known and, who knows, they might have another one out. It is a great venue and, I am sure, given the fact the weather will be cold and ‘British’’; people will want to come in and get a warm and uplifting blast. Before then, Duke of Wolves will be promoting their latest single and getting a video together. Before I take this down; I want to revisit a few of the ideas I explored in the opening. I will look at music videos and professionalism; the importance of evolving Rock and deeper song – but I will start by talking about where the band go from here. I can see an album arriving from the London four-piece before too long. Already, there are five singles under the belt and great plans afoot; it is a great time for the guys. They will be headlining The Social in celebration of releasing Teddy Boy (officially out 18th August). If you can get to that gig/launch on 31st; it will be a chance to see one of the best live acts in the country perform. They have been compared to Queens of the Stone Age and, considering the U.S. band release their new album, Villains, very soon; it is a great month for swaggering, PROPER Rock. I have been a little underwhelmed by the proliferation of soulless Rock acts that seem to rely on easy riffs and volume. Duke of Wolves are different and add melody and variety to their music.

It is hard deciphering which Rock bands have potential to endure and those who seem resigned to short-term success. I have mentioned The White Stripes with good reason. Too many Rock bands stick to drums-guitar-bass-vocals and make their music simple, meaty and stadium-sized. They continue this throughout every album and keep their lyrics basic and unsophisticated. That leads to a scene that lacks any nuance, sophistication and future-promise. Going back to the U.S. legends and it seems few artists are learning from them. They are a unique duo but that does not mean modern artists cannot learn from them. If you chart their albums and progression: each new record brought new stories and sounds to the plate. That basic and stripped debut was foreign when compared to their fuller and more mature finale. Between then; Jack and Meg created some of the finest music of the past two decades. Maybe it was the fact there was two of them – and it was quite compact and uncomplicated – but know they are so successful and important because of their music and how original it was. Every album has its vibe and covered so much ground. If they had simply repeated their debut album then they would not have lasted as long as they did. Take another act like Queens of the Stone Age and, again, a band that manages to make every album different. I can see a lot of promise in Duke of Wolves and know they will not fall into the same traps as many of their peers – simply rehashing Rock’s rulebook and not adding their own personality to it. There are a lot of promising bands who are making original and bold music – they might not get the same focus as others; many going unnoticed in the underground. Rock is a genre that is flagging and not as healthy as it was years ago. I am not sure why this is but it is a combination of sameness and the popularity of other genres. The only way Rock is going to regain its crown and prosper is for acts to think more clearly and add more to the music. Duke of Wolves are doing this and, in addition to having melodic sensibilities, have a set of lyrics that stray far beyond the cliché and predictable.

This all bodes well for the band and their future aspirations. Teddy Boy looks at shallowness but has a sense of delusion and ego. It digs deep and addresses a common concern but seems to allude to individuals and the way they kid themselves. The band, so far this year, have already played Isle of Wight and Camden Rocks. Their music is resonating and connection with the people. Long may that continue and I think it will. The band is eager to keep fans updated and provides a window into their creative process. They produce sensational videos that vary from self-portrait pieces – the guys playing and caught on film – to more narrative-driven pieces. They do funny and comedic elements shoots but can do serious and intense. This is a side of music that is underrated and under-appreciated: filming good videos that show what a song is all about. So much of an artist’s popularity stems from YouTube they cannot ignore the importance of the form. I will wrap this up but am excited by a band who are rising through the ranks with impressive aplomb. London is a great city for them to carve up an empire and seduce the people. They have already achieved a lot in their careers so far but want to do a lot more. I know there are exciting gigs coming up but, with the arrival of Teddy Boy; the band will have more opportunities before them. Get to the single launch on 31st of this month and witness an exhilarating and exciting new force. With many questioning the stability and validity of Rock in modern music; bands like Duke of Wolves prove that…

 IT has the potential to rise and regain its dominance.

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Follow Duke of Wolves

INTERVIEW: January

INTERVIEW: 

  January

________

SOMETIMES she is known as ‘January Thompson’ but…

on a warm and bright day (had to get the corny weather/time-of-year joke done); I get to connect with January. She was born in the U.S. but is based in Britain – recording at her studio in Brighton. I ask about her album, Whelmed, and shooting the video for Too Soon.

She talks to me about the themes explored in her songs and some of the albums/artists that guide her work; what she has planned for the coming months and whether her musical upbringing – listening to Classical and Electronic sounds – has impacted her now.

________

Hi, January. How are you? How has your week been?

Heloo! Great, thanks.

I’ve started writing again: recording at my studio in Brighton. 

For those new to your work, can you introduce yourself, please?

Yes, of course, it would be my pleasure:

My name is January Thompson. I grew up in a household saturated with music - as my mother is a Classical pianist. I’ve always loved and wanted to be a part of the world of sound and one way was through singing - which has led me on the road less travelled: collaborating and working with different Electronic producers and D.J.s – and now, in releasing my first album, it has quite a bit of Classical influence mixed with subtle Electronic overtones.

PHOTO CREDIT: Hugh Fox and Lou Petty

The nominations for our very own Mercury Prize have been revealed. Did you catch the list and what is your view on the nominations?

I did.

Happy to see Kate Tempest getting some proper acknowledgement – also, love The XX and alt-J.

These are people that wouldn't normally get nominated for anything big in the States so happy to see that they are. 

Before addressing your album; can you tell me about the song, Too Soon, and shooting its video?

The inspiration came from the feeling of a relationship coming but having to wait for it - because it’s too soon - “What’s too soon for us, too soon to find we’re not alone/we echo in time/I’ve questioned why It’s later/isn’t this our time and place?”

So it’s a so-close-but-so-far-away kind of scenario.

The video was shot in Ojai, California - sort of giving the lost-and-waiting-in-the-wilderness feel. 

Whelmed is your latest album. What kind of stories and events compelled the songs on the album?

The title is an old sea term for when a ship would capsize. In this sense, the album is very much about being immersed in feelings.

Each song has a very distinct emotional correlation to an event or person in my life.

My world is built on my relationships with other people. Every time I start writing, it is with someone in mind: not always romantic, but mostly, of course (it is).

Romantic love always has highs and lows and twists and turns that need to be expressed; to better understand. Music and writing songs have always been cathartic for me in dealing with the good, and yes, some bad – or I’d like to say, ‘challenging relationships’.

Romantic love is never easy.

Is there a song on the album that is especially meaningful and personal?

I’d say Whelmed - the second single. It really sets the tone for the whole album, being immersed in feeling for the other person. 

How would you say this album differs from your earliest work in terms of sounds and the song subjects one can discover?

I’d say it’s much more developed: mainly because of the calibre of musicians and the producers that worked on it. I also had co-writes on a few of the songs - which was a first for me. I quite enjoyed the process. 

I believe you grew up listening to a lot of Classical music. Your music has elements of Electronic and Alternative. Who are the artists you take inspiration from? 

Enya.

I love her layering of vocals and the synths and, of course, Björk and Chopin (to name a few). 

In a lot of ways, you remind me of innovators like Björk. Is she someone you take guidance from?

Absolutely.

She’s groundbreaking and bold; her voice and how she emotes are incredible. She’s a hero for sure.  

How important was your time collaborating with British D.J.s when it comes to your music? What did you take from them?

Incredibly important.

From finding my actual ‘sound’ to recording vocals and learning how to record - and produce myself and use Pro Tools and Logic.

I was really lucky with my teachers. 

Any plans for later in the year? Do you already have more music in your head?

I do, actually, yes.

I’ve started writing again after a year-long hiatus. Feels lovely and am starting to work with some new musicians - which is always a source of inspiration, collaboration. 

PHOTO CREDIT: Adeline Sumney 

What sort of tour dates do you have approaching?

Nothing set, yet. T.B.A.

Who are new acts you recommend we check out?

Anything released on Erase Tapes, really: Ólafur Arnalds and Nils Frahm (to name a few). 

If you had to select the three albums that mean most to you; which would it be and why?

Arthur Rubinstein – Chopin: Nocturnes

I grew up listening to my mother play Nocturnes (and this album). They really express the sentiment of my heart and inspired me learning the piano.

Björk – Homogenic

The Electronic elements blew my mind and she managed to mix in Classical instrumentation with great songs - in a way no one had before that. Groundbreaking. Set the musical bar for me.

Linda Ronstadt – Greatest Hits

Another one my mother would play all of the time when I was a little girl – through her split with my father. We would sing it at the top of our lungs. I think it’s safe to say Linda taught me to sing: “Love is a rose but you never can pick it, only grows when it’s on the vine/Handful of thorns and you know you’ve missed it/Lose your love when you say the word mine.”

PHOTO CREDIT: Adeline Sumne

What advice would you give to artists coming through right now? 

Just keep writing what’s in your heart.

It’s good to learn and borrow sometimes from the giants before us – but try to stay as true as you can to your vision and your sound.

Never give up…ever.

Finally, and for being a good sport, you can each name a song and I’ll play it here (not one of yours as I’ll do that).

Hyperballard by Björk

________

Follow January

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INTERVIEW: Anthony Touma

INTERVIEW: 

  Anthony Touma

________

HE made it to the semi-finals of The Voice….

in France (Season Two) and won Dancing with the Stars in the Middle East. The Lebanon-based sensation Anthony Touma is, in addition to all that, an incredible artist who is a triple/quadruple-threat – few can boast the same range of talents and achievements! Toumas was born on the Western edge of Paris’ 16th arrondissement and grew up listening to the masters of Soul and Pop. I ask Touma about his idols and how important they are in regards his music.

I find out about Touma's new single, Walk Away, and what it was like shooting the video on the streets of Lebanon. There is an English-language album arriving and plenty of important gigs for Touma. He selects the three most-important albums in his life and words he would offer his (mass of adoring) fans.

________

Hi, Anthony. How are you? How has your week been?

Hello!

My week has been hectic but great! Hope you’ve had a nice week as well?

For those new to your work, can you introduce yourself, please?

My name is Anthony Touma. I’m twenty-five and I’m a singer-songwriter from a small, but beautiful, country in the Middle East called Lebanon.

Just a guy with a dream - led by a couple of words and melodies.

Walk Away is your new single. What can you tell me about the inspiration behind the song?

Walk Away is a feel-good song: it’s full of positivity and it’s all about surrounding ourselves with positive things and people - and asking any negative person around us to simply ‘walk away’ - because we’re in a good mood and nobody’s taking that away from us.

I was first inspired by people who didn’t initially believe in me but then walked up to me, years later, showing “Fake Love”, as Drake would say. We can all tell when someone actually has good intentions towards us and when they don’t.

That’s where the idea for the lyrics of Walk Away first came from.

 Its video looks like it was insane fun. Where was that shot and what was the experience like?

It was crazy-fun, indeed!

We shot the music video in my home country, Lebanon. We shot in many different places and regions including Tripoli and some of Beirut’s suburbs. We had two cameras filming the whole time so that we don’t miss any reaction. We took the risk of going out there without really knowing what kind of reaction we would get.

Every person we met on these two days of filming was extremely nice and cooperative.

We could tell they just wanted to have some fun and I’m really happy the song was so positively welcomed. It was truly an experience: I had never done anything like that before and I had never had this much fun shooting a music a video before, either. Thumbs-up to Ingrid Bawab who directed the Walk Away music video.

Slemian Damien and Tarek Marjdalani helped produce and put the track together. What did they bring to the song in terms of expertise and insight?

Geniuses.

After I wrote the lyrics and the melody for Walk Away; Tarek and Sleiman took the song to a whole new level. They first came up with the idea of having the bass guitar line lead the whole song and we started having fun with that idea.

Once we had that riff; Sleiman and Tarek started producing all the percussive elements of the track - and that’s when the song took a turn towards the African theme that we have today on Walk Away. They sent me the track and it inspired me to come up with all the African vocals.

The result of all that was a track I’m very proud of.

I believe there is an English-language album arriving. What can you reveal about that?

The album is being produced as we speak. It’s a Pop album, in English.

So far, I’ve written all the songs on the album but I’m always open to the idea of someone writing for me. It just hasn’t happened yet. Most songs are inspired by personal experience: some happy; some not.

Wouldn’t want to reveal more than that but I’m as excited as one can be.

What kind of sounds and themes will be included? Is it quite a broad album or can one expect a similar flavour to Walk Away?

It’s definitely a modern Pop sound that the album will have. I would say it’s broad while remaining in the Pop spectrum.

The themes vary from heartbreaks to ‘sexy time’; to love songs, to self-reflection songs - just the regular stuff we go through on a daily basis!

In the past; you have been a semi-finalist on France’s The Voice; winner on Dancing with the Stars Middle East and, outside of that, you've had a great deal of success. How important were these experiences getting your name and music to more people?

I definitely wouldn’t be here if it wasn’t for these shows I was a part of.

I would still be working as hard as I am today but fewer people would know about it. I’ve learned a lot from these experiences: I went through good times and tough times and they all taught me a lot about today’s world and about myself.

Born in France; you moved between there, Jordan; Dubai and Lebanon – before settling here. Did this itinerant childhood influence your music? Did you pick up from the cultures of each nation or was it quite an unsettling and confusing time?

I was three-years-old when my parents moved back from Paris to Lebanon. I spent most of my childhood in Lebanon and moved around Dubai and Jordan (when my father worked there). After The Voice, I lived in Paris for three years and, after that, I lived in London for a little less than a year - to study music production and songwriting. I definitely picked up a lot from the different cultures I was exposed to. It’s both a blessing and a curse.

A blessing because of it’s extremely enriching aspect but a curse because of the confusion it could lead to. The feeling of not knowing where you belong is a very unpleasant and difficult one.

I’ve come to believe that what matters more than where you are is who and what you surround yourself with - and the way you treat yourself.

How early did music come into your life? Do you remember the kind of artists you grew up listening to?

My mom having a beautiful voice and a guitarist; music was a part of my life from the day I was born. I would say I really fell in love with music around the age of seven - which is when I went on-stage to sing for the first time during a school concert.

I grew up listening to Michael Jackson, Stevie Wonder; Ray Charles, Scorpions, Whitesnake - and whatever albums my father left lying around the house.

Your fan numbers on Twitter, Facebook; Instagram and YouTube are incredible. How important is your fans’ support? What message would you give to them?

My fans’ support is everything.

They got me here and they keep me going. I love interacting with them and trying to get to know them better - and social media allows me to do that. I try to be as honest as possible with them. I always hope to inspire some of them or simply encourage them to go after their dreams.

I would thank them for always being there and tell them to stay tuned - because some great things are coming next!

PHOTO CREDIT: @venusvania

What kind of gigs do you have coming up? Where can we come see you play?

I’m performing at a couple of summer festivals here in Lebanon during this season: the next one is happening on the 5th August in a city called Aley.

For those outside of Lebanon, I make sure to give a little intimate concert every now and then live on my Instagram!

Are there any new acts you recommend we check out?

Check out a band called Safar - it means 'travel' in Arabic. It’s a two-member Lebanese band based in New York, North Carolina and Beirut. They’re awesome.

Elie Abdelnour, one of the members, used to be my bandmate in Homemade: the High School Rock band I was in (yes, I was in a Rock band: long hair and all).

If you had to select the three albums that mean most to you; which would they be and why?

1. Bad by Michael Jackson.

This album was on-repeat in the house, car: anywhere I could play it. I knew every song and in the right order! It was, probably, the album that made M.J. an idol in my eyes. I might have been struck by… “a smooth criminal”.

2. FutureSex/LoveSounds by Justin Timberlake

Such an awesome album. J.T. is an inspiration to me in so many ways. He just keeps getting better and he always takes the music to (yet) another level. He takes risks and I love that about him. That album was my most played album for 2006 - and all the years after that. My personal favorite from the album is Until the End of Time. That was later on recorded as a duet with Beyoncé. What a song.

3. Unorthodox Jukebox by Bruno Mars

I mean; how I can I not include that album in my list?! The first time my mother heard When I Was Your Man; she called me and asked me if I had released a new song without telling her. That album is fire! Every single song takes you to a different place - and Treasure is (just) that song that I can’t listen to without dancing and singing along.

What advice would you give to artists coming through right now?

Being an artist is not easy.

It’s a lot of hard work with no guaranteed recognition; no guaranteed success and a million different ways to achieve the same objectives. It’s a lot of trial-and-error and you have to want it really bad - or else, you’re gonna end up quitting. It never gets easier!

That being said; my advice to any artist is to take all the time in the world to really figure out what they want to do, what they want to sing; who they really are as an artist and what are they willing to do or not do to make it.

Be true to yourself, basically, and take the time to figure things out...patience is key.

Finally, and for being a good sport, you can each name a song and I’ll play it here (not one of yours as I’ll do that).

Following this interview, I really feel like going back to 2006 and listening to Lovestoned by Justin Timberlake.

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Follow Anthony Touma

FEATURE: Go Figure! The Shifting Demographics of British Radio

FEATURE:

 

Go Figure! 

IN THIS PHOTO: Chris Evans of BBC Radio 2

 The Shifting Demographics of British Radio

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IT is interesting, a few weeks after it was revealed how much…

PHOTO CREDIT: Unsplash

BBC’s talent was paid (annually), we get a report detailing the figures each of the radio stations has notched up. It is coincident – and, perhaps, not related – but I find it curious in regards the findings. I have written pieces stating how influential radio is when it comes to discovering new music. Streaming services are important but you cannot beat the variation and passion one gets from the radio. Whilst I am normally hooked to BBC Radio 6 Music; it is intriguing looking at the demographics of each station and whether the figures have gone up or down – and whether there is because of the music they play; the talent behind the microphone or changing tastes. Before investigating; let’s have a look at the findings  (presented on the BBC website):

“Chris Evans's BBC Radio 2 breakfast show lost almost half a million listeners in the past year, figures show.

It comes just weeks after he was named as the BBC's highest paid star.

The DJ drew 9.01m listeners a week between April and June 2017, down from 9.47m over the same period in 2016, according to figures by audience research body Rajar.

He was paid between £2.2m and £2.25m during that same year.

The figures show Evans lost 370,000 listeners between the first and second quarter of this year - before his salary was published.

It's better news for Nick Grimshaw - whose breakfast show on Radio 1 saw its weekly audience rise by 350,000 listeners on the previous quarter to reach 5.5m.

It is also an increase on the 5.43m listeners who tuned in during the same period in 2016.

Radio 1 as a whole saw its audience jump by nearly half a million between April 3 and July 25 - with 9.6m listeners compared with 9.1m in the first three months of 2017.

The figures show Radio 4's Today programme has increased its weekly listeners to reach a record high - with 7.66m tuning in during the second quarter, compared to 7.13m three months earlier.

 Radio 4 itself also reached its biggest audience since records began in 1999 - with 11.55m listeners every week.

Bob Shennan, director of BBC radio and music, said Radio 4 was "as vital as ever as it approaches its 50th anniversary".

The BBC's figures overall were "fantastic news for radio, illustrating its enduring appeal in a crowded digital marketplace", he added.

LBC's audience also increased, with 2m listeners a week between April and June 2017, compared to 1.7m over the same period in 2016.

The stations parent company Global said it was an all-time high for the station, with presenters Nick Ferrari and James O'Brien both reaching record audiences.

Radio X, which was rebranded from XFM in 2015, also reached its best weekly audience yet with 1.4 million.

Jo.jpg

IN THIS PHOTO: BBC Radio 2 D.J., Jo Whiley

Alan Brazil's breakfast show on talkSPORT lost about 400,000 listeners, with 1.6m a week in the 2016 period down to 1.2m in 2017.

The figures show the morning slot on Kiss saw its weekly audience drop slightly to 2m in the last quarter from 2.1m.

But the programme, hosted by Rickie, Melvin and Charlie, remains the most popular commercial breakfast show in the UK.

Classic FM's symphonies struck the right chords as its weekly audience increased by over 200,000.

And Heart 80s - a new station that launched in March and plays exclusively eighties music - attracted 850,000 listeners in its first Rajar quarter”.

These figures are published regularly and, maybe, one should not read too much into things. What I find interesting- the first thing, at least – is the loss of listeners from Chris Evans’ breakfast show. It is hard reading about that listener drop and ignoring the fact he is the BBC’s highest-paid talent. Not that this should split and bother his loyal listenership. Maybe there is a causal, fair-weather faction who have deemed that huge fortune as a good reason to go elsewhere. It is controversial discussing the pay findings – and why there is a notable gender-gap – but many would have been put off by the fact Evans earns a huge fortune. He has earned this – and been in the industry for years – but I feel one of the reasons his BBC Radio 2 morning show has lost listeners is because of changing tastes.

IN THIS PHOTO: BBC Radio 6 Music's Shaun Keaveny

It is interesting BBC Radio 6 Music were not heavily mentioned in the article. Of course, Evans started shedding listeners long before the furore around his earnings. What the findings show is many more people are listening to the radio. Maybe BBC Radio 6 Music was omitted because it is digital-only but I know it has picked up a lot of listeners. The ‘traditional’ stations are seeing numbers increased and a wider demographic emerge. Streaming services and digital stations pack the market and it is very tempting to listen exclusively to them. What is apparent is people are still bonded to the good old-fashioned radio. It is not a stubbornness or age thing: that combination of great music and entertaining presenters is a potent blend. It is unsurprisingly Nick Grimshaw gained a lot of new recruits. Maybe there are a lot more younger listeners discovering radio: pleasing when one thinks about how digitised and Internet-based a lot of music listener is becoming. Why, then, is radio not only surviving but growing?! Before I give my theories on today’s findings: a look back to a 2011 piece published by The Daily Mail -

IN THIS PHOTO: BBC Radio 1's Nick Grimshaw

“But it found that radio had the most mood-enhancing effect, with listeners saying that it lifted their happiness levels 100 per cent and energy levels by 300 per cent, compared to those not using any media at all.

The report said: ‘Radio is chosen as a lifestyle support system, to help people feel better as they go about their daily lives. Rather than the peaks and troughs that people have claimed to experience with TV and the internet, radio provides a consistent environment themed and shaped to suit the listener’s needsat any given time of day, and one that is generally upbeat in tone.’

Viewers said TVs boosted their happiness by 62 per cent and energy by 180 per cent, while those using the internet said their happiness was increased by more than two thirds and energy levels leapt by 220 per cent,  when compared against people consuming no media”.

PHOTO CREDIT: Unsplash

Many might think it is a case of people forsaking digital technology and bonding with something simpler and vintage. That is not the case – as shown in a 2015 piece by The Guardian:

“Nearly 40% of radio listening is now on digital with record audiences for digital-only commercial stations including Absolute 80s and Planet Rock.

Absolute 80s pulled in an average of 1.45 million listeners a week with another 1.25 million tuning into Planet Rock, both owned by Bauer Media, in the first three months of this year, according to Rajar listening figures published on Thursday.

Kiss spin-off station Kisstory, another Bauer station, also hit a new high, up 21% to with 1.13 million listeners.

PHOTO CREDIT: Unsplash

Digital listening was also given a boost by record audiences for the BBC’s Radio 4 Extra, which leapfrogged BBC 6 Music as the UK’s biggest digital-only station, with 2.17 million listeners.

Digital platforms made up 39.6% of all radio listening, up from 36.6% in the same period in 2014, including DAB radio, online and via apps.

In the London area, digital listening has now overtaken analogue, with a 46.8% share ahead of FM and AM’s 46.2%”.

Not only is the continued rise and success of radio encouraging: the fact a lot of young people are discovering the form is encouraging to say the least. I feel Chris Evans’ drop in listeners is less personality-driven and more to do with the type of music being played. I have listened to the breakfast slot on BBC Radio 2 and the playlist is not exactly invigorating and uplifting. If one wants to start their day right: you’d think you’d choose a show that had some spirited and fun music. Maybe that is a reach but I do wonder why there has been an exodus from his show to other options – Evans has been at the helm for years and has become no more irritating and unlikeable than before.

IN THIS PHOTO: BBC Radio 4's The Today Show

We know BBC Radio 4 – and stations more suited to ‘older’ tastes – has seen its marketshare increase. One cannot say it is the young vote influencing this change. In Evans’ case; I feel it influenced by the time of day and a growing need to, at that time of day, discover a different type of show/music. Perhaps it is a brief blip but I was surprised to find so many leaving BBC Radio 2’s breakfast show. Are there more compelling reasons radio is seeing a resurgence? A piece by OptiComm Media, published last year, shed some light:

“In this exciting age of digital it is easy to overlook the value of radio advertising or wrongly assume that it is less compelling than other channels.  Undeniably, the younger demographic do have a preference for listening to music using online video and streaming services via platforms like Spotify who are significantly increasing their foothold.  However, in the UK 9 out of 10 adults still tune into radio each week – that’s 48.7 million people.   Digital radio has also made radio more accessible to the masses – 58.9% of total radio listening is now via a digital platform with 30 million adults owning a DAB digital radio.

Digital radio also enables advertisers to target much more specifically based on listening preferences, region and age group to ensure the advertiser’s message is reaching its intended audience.  No doubt the day will come when listeners receive personalised ads based on a stored profile but for now, there are still plenty of persuasive reasons for looking at radio.

When was the last time you drove your car without the radio on?

IN THIS PHOTO: Russell Brand of Radio X

People do listen to radio ads and unlike TV where there is a tendency to channel hop, radio listeners do not change stations with the same frequency and are often more loyal to their station of choice.  Radio’s avoidance score is joint-lowest with cinema.  The RAB (Radio Advertising Bureau) estimate that 57% of listeners have checked out a product or service online after hearing about them on the radio while 39% revealed they have been compelled to search for something on the internet after radio prompted them to do so.

The effectiveness of local radio stations should not be overlooked.  These constitute an integral part of the community and businesses advertising on local radio can benefit from making that association and connection.  Listeners often develop an affinity for a particular presenter and think of them almost as a ‘friend.’  This feeling can extend to regular advertiser and sponsors if they get their messaging right.

Radio is a great selling tool because with the right script and voice you can convey emotion and authority and it can also be a very cost effective and speedy option.  With most stations offering excellent packages and deals that include scripting, production and licensing you really can reach more people for less than you may think and get on air in only a matter of day”.

IN THIS PHOTO: Jeremy Vine (BBC Radio 2)

It is not only the U.K. that is seeing its radio economy flourishing: American listeners are backing their stations and discovering new joys from the radio. I am interested in an article published by Forbes:

“Instead, it’s all about smartphones and other connected devices for the younger crowds, which should come as no surprise to anybody who knows someone between the ages of 15 and 19. Smartphones are now responsible for 41% of their listening, which is much higher than the average when taking into account all age groups, which is just 18%. There is clearly a lot of room to grow when it comes to streaming platforms and the older generations, which seem to have barely been tapped.

Just because millennials have all but abandoned traditional radio, that doesn’t mean the format is “dead,” and in fact, radio is still doing alright, at least for the time being.

Millennials don’t listen to as much radio as those that came before them because they have much better options these days. Younger millennials are also in a unique position, as many of their parents are young enough to have caught on to streaming or other listening options instead of sticking with radio. The popularity of streaming is growing all the time, and now that so many devices have connected capabilities and wi-fi (including cars, where a lot of radio listening takes place), it’s easy to see why young millennials don’t have the connection to the radio that older generations still do”.

IN THIS PHOTO: Clara Amfo of BBC Radio 1

Is it, then, the case millennials are not only broadening their tastes – maybe some of BBC Radio 4’s new listeners are breaking trends and subverting expectations – and discovering radio through Smartphones and the Internet? It is impossible knowing exactly why certain stations are on the rise; why Chris Evans has lost a lot of listeners – it might be no down to simple factors or sudden realisations. The biggest takeaways from the new findings are radio’s lure and appeal continues to grow. We know how popular it was in 2011/’14/’15 – this looks set to continue for many more years to come. One cannot discount the influence of digital option, though. Maybe listeners are listening to F.M./A.M. stations through devices more? It does not matter how one listens to radio: the fact it is a format in no danger of extinction is wonderful. Unlike film – where there is a social aspect to going to the cinema – one could well imagine why people would forsake radio and choose streaming sites! The traditional and loyal core of radio listeners is not being tempted and distracted by the proliferation of streaming sites. People are still going to concerts but they have plenty of time for the radio. It is a forum one discovers new artists on; finds comfort in and unearths treasures.

PHOTO CREDIT: Unsplash

For me, radio is not only access to the variety of upcoming talent: it is the chance to preserve the finest sounds from the past. I listen to shows like Desert Island Discs (BBC Radio 4, Sundays) and, as a result, have sought-out other shows on the station.  In terms of age groups, and whether certain stations are bringing in younger listeners, it is interesting reading a BBC breakdown. Similar breakdowns will be apparent this year but I am interested how important younger listeners are when it comes to contributing via digital means; how solid the traditional core is (older listeners) – and whether streaming services are actually driving people to radio. Streaming sites have their uses but they cannot cover the same sort of ground as radio. One does not get to listen to a human being via streaming – in the way they hear a D.J. on the radio. The breadth and choices one gets with the radio cannot be easily replicated. Whatever the reasons behind the continuing prosperity of radio are; I am still fascinated by the declining listenership of Chris Evans to other stations. I do not believe it is Evans’ personality and style that is driving people away. Half-a-million lost listeners is a huge dent and one wonders what the real reasons behind that are! Regardless of Chris Evans’ popularity; I am pleased radio remains in rude health – and continues to grow in popularity. It shows people are not only listening for music content but current affairs, comedy and a variety of shows. I, for one, hope radio’s dominance…

CONTINUES for decades to come.

INTERVIEW: Milo Gore

INTERVIEW:

 Milo Gore

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IN the ever-increasing sea of musicians…

PHOTO CREDIT: Matt Bramston

one struggles to get their head above the water. Every example proffers their goods like an opportunistic stallholder at a foreign market – seeing a tourist approach from afar. I always love it because, in this line of work, it is good to be as busy as possible. There is something almost off-the-radar and elusive about Milo Gore. I talk to the talented songwriter about his lo-fi, D.I.Y. sound and some exposition regarding the new E.P., Watch the Tide.

He talks to me about the band members and producers that help put the music together; his influences and what role music played during childhood; how the rest of his year is shaping up and the kind of themes addressed through his music.

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Hi, Milo. How are you? How has your week been?

Hello, hello. I’m good, thanks.

It’s been a mad week actually. Me and my drummer, Luke Parkinson, just got back from a week-long busking tour of Cornwall. We stayed in my little red Piaggio Porter for the week - staying on cliff-tops and beaches. Then (just) hitting-up cool locations like St. Ives and Porthleven to do some music.

It’s been sweet-A.-F. - but we are knackered now.

For those new to your work, can you introduce yourself, please?

I’m twenty-one; a student living in Falmouth, Cornwall - and I’ve just released my first E.P., Watch the Tide.

I’ll throw in that I’m a Chelsea fan, too.

Watch the Tide is your debut E.P. What can you reveal about the kind of stories and ideas represented in E.P.?

That’s a question I like.

I think, in today’s music industry, there is too much, as Trump would say, ‘fake’ music. I (just) don’t think enough artists back up their music with a thought, an idea or concept that would enhance their message.

Justin Vernon is a massive influence on me and, if you’ve listened to his latest album, you’d understand why. The thought that has gone into, not only the music but the album cover, artwork and music videos of Bon Iver, are so clever.

It allows the music to draw you in further as it adds the important visuals. For Watch The Tide, I tried to do the same. The record is a very personal one: each song explores a significant point in my life.

A big thing I write about is mental health and depression. The title of the E.P. and the artwork of the faces that represent the moon phases are meant to represent the ups and downs of a mind/mood. For me, depression is something that needs to be voiced a lot more – so I hope, through my music, I am doing that in some way.

I have a bunch of symbols on the back artwork that all have a relevant meaning - and each definitely has its own underlying message.

Max Waymark produced Watch the Tide. How did you come to meet him and what did he bring to the recordings?

I had already met Max in the first year of university - as he lived next-door to our guitarist, Jay Beale. Then, in the second year, I put a message out of Facebook as we needed a bassist - and Max was the first to respond.

That’s it I guess. We just all clicked with him, and even better: he is a dope bassist!

There is a range of sounds and instruments played on the E.P. It has a rough-around-the-edges charm. Did all the music come together quite quickly or do you like to experiment with sound/genres?

I think we already knew the sound we wanted so there wasn’t much experimenting.

We first set out to get the foundation down for all the songs, i.e. Bass, Drums; Guitars and then, from there, we started to add in the little bits of magic.

Next time, I think I will definitely take more time during the writing period to think about new ways to evolve our sound. It’s certainly rough-around-the-edges as it was recorded in my small shoebox of a room (haha).

I think it adds that something to our D.I.Y. sound - written and recorded in its natural location.

Tell me about the musicians you play with. How did you come to meet and perform alongside them?

The band is made up of all my musical friends I have made at uni. They are such awesome people and, without them, my music would not be the same - so much love for them I can’t explain.

-          Luke Parkinson: a rad guy; is my unbelievable drummer.

-          Max Waymark: a glorious bassist and the producer of the E.P.

-          Jay Beale: sexy guitarist (who also has his own stuff up Spotify - and all and it’s so sick.)

-          Kieran Clark: another sexy guitarist (who will have his own stuff up online soon - he goes by the name, Luke Moss.)

-          Christina Smith and her lovely vocals (she is recording her E.P. at moment under the name of FARE).

Your band mantra, ‘Forever Whatever’ seems very apt in these times. What does it represent and symbolise to you?

Luke and I actually (just) got matching ‘Forever Whatever’ tattoos while on tour recently!

I can’t really remember when it came about, to be honest: it just happened naturally. It’s not meant to portray a meaning of ‘do whatever you want’ but more a kinda-saying to help let go of the past and bad things you may be holding on to.

Take whatever feels right from it – forever, whatever!

Who are the artists you (and the band) grew up listening to – give me an insight into your idols and influences.

Straight-up, I have to say, Ben Howard as my biggest influence. Without him, I just wouldn’t be songwriting at all.

Listening to his music taught me a lot and I really connected with his lyrics. Justin Vernon is a genius, too. I also listen to a lot of Catfish (and the Bottlemen), The 1975 and another favourite, Bears Den.

I guess they all really pushed me to the sound we have now. I wanted to create records that were anthemic, climactic sing-alongs - as well as being intricate, meaningful and delicate. I think I’ve done that in places?

Music seems like an industry where it is becoming harder to make money and endure. Do you ever worry you have to gig harder to get recognition or does the passion and drive for music overcome all of that?

Definitely not in it for any of the money.

I mean, money is great - I would absolutely love to earn a decent living off my music but, as you said in this industry, it is harder to make a good wage.

I am happy as long as I get to keep making music and keep making records. Gigging, in my opinion, is also the best part - the band and I love it; no better experience.

What does the rest of the year hold in terms of material? Are you working on more songs?

I’ve actually just finished a song that Luke and I were writing on tour. It’s my fave so far.

We’re gonna release that alongside another single and a tour vid. -so stay tuned!

Do you have any tour dates approaching? Where can we come and see you play?

We are playing on the 5th August at Langaland Festival - as well as playing the Hurly Burly Stage at Boardmasters this year.

I’m also putting on the music every day from 12-3 P.M. at the Hurly Burly – so, if you're around, come on down and see some mad artists from Red Van Records.

IN THIS PHOTO: Jay Beale/PHOTO CREDIT: Matt Bramston

Who are new acts you recommend we check out?

Jay Beale, absolutely. He is a genius.

A Blaze of Feather and Matt Maltese.

Again...genius.

 IN THIS PHOTO: A Blaze of Feathers

If you had to select the three albums that mean most to you; which would they be and why?

I Forgot Where We Were – Ben Howard

Taught me a lot about myself.

Islands – Bears Den

Writing-style; the way they build each track with layers and harmonies.

How to Save a Life – The Fray

Golden Oldie. A bit more Pop-y but I just think they are bangers from when I was younger - I still know every word!

What advice would you give to artists coming through right now?

Get confident; understand your band and practise…then gig, gig, gig.

Just write as much as you can - you develop further every time.

Finally, and for being a good sport, you can name a song and I’ll play it here (not one of yours as I’ll do that).

Ooh, amazing!

Urm...Jay Beale – Retiro

(Jay is my housemate and guitarist - and he is making some unbelievable music right now).

Cheers, thanks very much.

Milo Gore x

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Follow Milo Gore

FEATURE: “If Music Be…”

FEATURE:

PHOTO CREDIT: Unsplash

  “If Music Be…”

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THERE are three reasons I am writing this piece.

IN THIS PHOTO: Björk for Dazed’s autumn 2017 issue/PHOTO CREDIT: Jesse Kanda

I need to keep this short(ish) for a couple of further reasons. The first is, having to compact my writing into an evening, there are inevitable mistakes and rush-provoked mishaps coming in. I yearn to have the entire day writing and not be beholden to the dark embers – pushing myself until the light is extinguished. I shall come to that another time but, ironically, I am writing about reviews and journalistic attention – whether it is useful and how authoritative it is. I mentioned I had a few motives for writing this feature. I wanted to look at other writers and whether they are being forced into brevity: if it is useful when reviewing an album and whether one needs to expend many words. Another reason (why this is here) is Björk (who one can see pictured above) has announced a new album is just around the corner. Her last one – 2015’s Vulnicura – was a pretty good one. Even by her impeccable standards; it was one of her most successful and assured of the decade. She is a consistent artist who does not want to rest between albums for too long. Lord knows what has inspired her upcoming album. Recent efforts have looked at nature and science: she has pushed boundaries and found new ways to create sounds and invent staggering soundscapes. Whether she continues along this line – or adopts a directness one can associate with her early days – I am not sure. Although she says it the album is coming out soon; that could mean a few months – maybe it will be out on Friday. Who knows, eh?! Whatever it is dropped, and whether a single comes out beforehand, it is one of the most-anticipated releases of the year – even though nobody heard about the album (whatever it will be called) until today. The mere suggestion of a Björk is a moment of joy and revelation. Speculation will grow and people will be wondering what is coming...about that word limit thing…!

I wanted to write this piece because, more than anything, I am reading reviews and articles that come out in the mainstream music websites; those we see in the underground sites and the big magazines. Going back to Björk and, without being too distracted, she assessed her forthcoming album, thus:

“This is like my Tinder album,” she explains in the feature. “It’s about that search (for utopia) – and about being in love. Spending time with a person you enjoy is when the dream becomes real.”

Elsewhere in the piece, Björk discusses how the rise of right-wing populism helped inspire her new direction: “If we’re gonna survive the situation the world is in today, we’ve got to come up with a new plan. Especially now, this kind of dream is an emergency.” She also talks about reuniting with Vulnicura co-producer Arca for the album, describing it as “the strongest musical relationship I’ve had.”

That snippet is from Dazed - and is a teaser for the question-and-answer/feature she has conducted with the magazine. It is very exciting and it makes me feel, when the album does come out, what kind of reception it gets. I titled the article the way I did because there is a huge irony. We all know that Shakespeare soliloquy/adage and that, as much as anything, should define music. It is a food of love and banquet: a passion that should not be prone to brief curiosity and insincerity. I find a great number of music journalists are tasked with reviewing an album and really not putting in the graft – have to keep this to fewer than two-thousand words! I mentioned how mistakes are creeping into my work – there may be the odd bit here-and-there in this article (that gets missed). It is inevitable there’ll be the odd grammar/spelling error because: A) I do not have a sub-editor and try the best I can and, B) I do better than most – consider the number of words I type a week. My reviews are unique as, simply put, they go pretty deep. Like a well-hung porn star working overtime: I go in hard and plunge deeper than a submarine.

PHOTO CREDIT: Pixabay

Expunge that rather odd nautical-cum-ejaculation image from your mind and you know what I mean. I review new artists and feel I need to be as thorough as possible. I realise accuracy, articulacy and variation are important: if one is lacklustre in one area; are they entitled to judge others?! The reason I put so much effort into every review is down of the work that artist does. They take the trouble to write the song/E.P. and toil endlessly to get the sound right. From there; they embark on production and mixing; pushing it to journalists and hoping people react to it. Few realise how hard and anxiety-provoking recording music can be. There is so much expectation and pressure on an artist: they, in turn, feel rushed into recording music to fulfil a sense of critical expectation. I am not naming any papers/sites but we all read such brief and pointless reviews. If a mainstream artist puts out an album – and ensures it is the best it can be – what use is a review that lasts only a couple of paragraph?! I honestly see mainstream reviews that distil an album into eight lines. Sometimes it can be even worse and you wonder what the journalist is doing during the day – and why they are in such a rush! It comes down to editing guidelines and making something bite-sized and digestible. I was looking at reviews for two recent albums: Dizzee Rascal’s Raskit and Arcade Fire’s Everything Now. Both albums gained different reactions – the former more positive; the latter left many cold – but it was hard getting a genuine consensus. Obviously, different reviewers have different thoughts but I saw few reviews that actually went into any details. Rather than listen to the album itself: how am I meant to get a true sense of an album’s pros and cons from the collection of barely-there reviews?! Arcade Fire’s album got a couple of five-star reviews off the bat. Those were, by-and-large, quite detailed and gave me something to go by. The mediocre/poor reviews – in terms of the quality of Arcade Fire and not the journalist – were punchy to the point of being pointless.

IMAGE CREDIT: Unsplash

They slagged the album off in a couple of sentences and that was it. Because of that, I was so confused as to whether the album was much cop. I had, say, five reviewers saying it was crap and five saying it was good – if two journalists say it is a great record, and put the effort in, does that means I should side with them?! The same was true of Dizzee Rascal’s new one. The Guardian gave it a meaty review and that was quite refreshing. I picked up some good points but felt, before I went out and bought it, I’d read a few more reviews to get a balance. The ones I saw ranged from three-to-four stars: there were few that rated it higher or lower. That lets me know critics like it – if not crazy about it – and they were pleased Dizzee was back to his near-best. Pleasing for me, as a fan, to know he has produced something better than the genuinely bad, The Fifth. I have, so you know, bought the album and heard it on Spotify beforehand – so irritated at the slapdash reviews and complete lack of passion. I have heard Everything Now on Spotify and had to make my own mind up (I will not be buying that album). I mentioned a certain Icelandic artist earlier – and have her as the cover-star – because her as-yet-untitled album will not merely be dropped into shops without it getting into the hands of critics. Maybe she will release a single before; maybe she will have snippets of songs out there – she is not someone we can predict in any way. Being a Björk album; it is going to be full of wonder, invention and the mysterious. It will have big sounds but, as it is a paen to love and hankering for Utopia; it makes me curious how that will manifest itself. I can well imagine but, before the writer graces us with the L.P.’s presence: I need to collate a few reviews and see what people are seeing. For me; passion may compensate (to an extent) for some at-times-sloppy penmanship – scansion, syntax and grammar not always tip-top and rosy – but I acknowledge this.

IN THIS PHOTO: The album cover for Arcade Fire's Everything Now

People pick me up on it and I yearn to be better. My greatest positive, I feel, is the way I approach reviews and how I dissect songs/artists. If I was charged with reviewing Björk’s upcoming album; I would provide some background and contextualise the record. I would ensure the review was thorough, concise and helpful. I worry so many journalists, even if it is a Björk record, will reduce it to a few paragraphs. It makes me wonder how useful modern media is and whether we are compressing articles to suit a short attention-span. There are culpable sites – some are really great and ALWAYS make their reviews detailed – but I want to see consistency across the board. If I am looking for some Björk reviews; I will do a search on Google and see the search results. Clicking on them; it can be quite a frustrating experience. They give the album a star-rating but then, when it comes to explaining the songs and what the album is about, often that is compacted into a few paragraphs. The artist has put her soul into the album so one wonders whether she is offended by the short and punchy reviews. I know sites limit their writers to a word count and do not like to put too many long articles online. Music is a wonderful industry and the greatest albums deserve a proper and passionate review – even so-so records need the right amount of words to justify their rating. One cannot give an album four stars and then write ten lines. What is anyone supposed to do with that?! It is happening more and more and it is making purchasing habits quite erratic. Once was the case we’d look at reviews and get a sense of what an album was about; go out and buy it and that was that. Now, people cannot gauge an album’s validity and quality on the strength of reviews. They stream the odd track and then, when everyone has had their say, will, make their own decision. The music consumer needs education and guidance: I am concerned sites/newspapers/magazines, in their zeal to be accessible and digestible, and taking a calorific approach to writing.

PHOTO CREDIT: Unsplash

They are presenting a sparse and small meal and not providing the public with any real substance and nutrients. Because of this – and follow the diet/food analogy here – there is this anaemic and under-fed reaction. We are being left hungry and maddened by the vast array of stupidly-sized reviews. (I am aware of the irony that is on display here). I have rambled on and exceeding my word limit desires for this piece. There might be errors and omissions but, I feel, in decrying critics and their review culture have, ironically, put more depth in than they would reviewing an album. I want to be one of those mainstream critics but feel I would not be allowed to expend necessary effort and thought. Perhaps that is the way the media is but it makes me sad thinking Björk’s upcoming album will be assessed in so few words – she deserves so much more and is an incredible artist. I will leave this be but wanted to discuss something that is making me quite angry. I see a lot of people rage at the laziness of many journalists and how sites are putting out threadbare reviews. It is not inspiring the new generation of journalists and means, for the artists being reviewed, they are not provided with the attention they deserve. That creates a negative culture and makes them less inclined to make more music. We all know, dears, music IS the food of LOVE. Whether you like the album (or not): it warrants a decent and diligent write-up. For that reason, when faced with an album, there needs to be changed. Do not limit the reviews to so few words. Truly LISTEN to the album; let the imagination conspire and…

PHOTO CREDIT: Unsplash

PLAY on!

FEATURE: Megahertz: The Changing Face of Dance Music

FEATURE:

 

Megahertz: 

 The Changing Face of Dance Music

________

ONE of the biggest changes I have noticed over…

the past few decades is how ‘Dance’ music has evolved. I use that ('Dance') word advisedly as it is hard to define what that really means. I get it is, rather obviously, music one can dance to. I was born in 1983 and remember growing up with a lot of music from the 1960s and '70s. My earliest memories of Dance music, I guess, were formed around the late-'80s. At that time, one was starting to hear those great Club anthems arrive. My fondest recollections of music began as a young child. It is eye-opening thinking about acts like Snap! and Soul II Soul. In broad terms, one sees few comparisons between them but they each made music designed to get people moving. One can quibble regarding genre-terms and terminology but, in its wide remit, there is a lot of flexibility regarding Dance. It was a glorious era – the late-'80s/early-'90s – for transformative and hugely evocative sounds. The clubs were different then: just as sweaty but not quite as ultra-modern as they are today. That seems insane as they can only be as developed as the world around them - but there is a different pulse and sensation today. I will look at today’s market but, flicking back the 1990s and it is, without doubt, one of those decades where music stepped up and changed the world. I won’t chat about the Grunge, Britpop and Alternative sounds that were setting the world on fire – they definitely had an impact and influence on the Dance artists of the time. Most people’s exposure to the floor-bangers of that period is through compilation albums. They hand-pick the ‘greatest’ Dance anthem (or whatever) from the period – in order to give a taste of what it was all about. Actually having grown up in that time meant I, like many people, had a much more tangible and realistic impression of the scene. One of my favourite childhood recollections is hearing The Key The Secret by Urban Cookie Collective. The Eurodance band hardly stuck around long – and the song is horribly dated now – but, in 1993, it was quite something.

PHOTO CREDIT: Unsplash

Again, without sounding like I am scanning down a compilation C.D., I recall the likes of Haddaway (What Is Love) and Dr. Albarn (It’s My Life) light up the charts. I was, perhaps, a little immature to appreciate how they songs translated in the clubs but, marvelling today, I am struck by how innovative and timeless those songs are. Few would have predicted the way Dance transformed from the 1980s. I know there was a sturdy Dance scene in the 1980s but nothing as varied and compelling as the decade that followed. To me, it is the innocence and freedom of the songs that strike. There is sexuality and suggestion in some songs: the music was not as direct and one-minded as it is today. A lot of the tracks dealt with self-determination and expression; surrendering to the rhythm and purity of love - such an exciting, refreshing and moral style of music. Yes, I am not naïve enough to suggest Dance music was attending church and helping the elderly at the weekend. There was plenty of sex and rudeness stuffed in-between the crevices. Towards the end of the 1990s, there was a definite turn towards a more throbbing and hardcore vibe. Maybe, in order to shake off music like Britpop and U.S. guitar music; Dance artists felt they needed to reflect a more edgy and futuristic style of music. It is interesting how fast that transition happened and how the form evolved in the decade. I have a fondness for the Dance music from, say, 1988-1995. That was, in many ways, the first time Dance took a huge role in the mainstream and was translating worldwide. At that time, the finest Dance artists came from Europe: today, there is a greater reliance on U.S. and U.K. artists. It is interesting seeing why there is a nationality/continent change from the 1990s to the current time. There were fewer artists around in the 1990s – getting into the studio meant you probably had a record deal – so the quality-quantity ratio was a lot better.

It was that sense of fun and playfulness that struck my tender mind. I listen to the songs now and many of them have not dated. Those themes of togetherness, losing oneself and feeling good are as relevant now as they were then. If the likes of Dr. Albarn, Baby D and Snap! were ruling the charts in the late-'80s/early-mid-'90s; then it was Fatboy Slim, Underworld and The Prodigy who took over from them. The younger siblings were a lot more intense, dangerous and fuelled-up. If the predecessors were giddy and loveable from being tipsy: the grittier and more experimental Dance that ended the 1990s was sampling everything it had shoved down its throats. Acid, cocaine and heroin mixed with booze and cigarettes. I am not suggesting Dance lost its innocence and become an irascible and undisciplined hell-raiser. Maybe there was a desire for something more ‘mature’, sexualised and bangin’. It was during the late-'90s I was starting to get into artists like The Chemical Brothers, Basement Jaxx and Underworld. There is a need for clarification when we talk about ‘Dance’ as a genre. I have seen Reggae and Pop songs go into that category which is fair enough. It can, in broad terms, be seen as music that makes you move and hit the dancefloor. If we talk in pure terms: the end of the 1990s saw Dance music become more muscular, darker and progressive. The mantle switched from brilliant Eurodance to the new generation of British and American Dance artists. This country, especially, started to make its mark on Dance at the end of the '90s. Basement Jaxx, when writing their album, Remedy, were annoyed at the void that was left in Dance after the real buzz and carnival of the early-mid-'90s. The fun had gone and was replaced by something generic, repetitive and unengaging.

Something had happened between the time those classic '90s anthems were released and the final stages of the decade. There was derivative rehash and a real deflation that seemed to happen – perhaps Dance was becoming more underground and has reached a zenith it was unable to sustain. Basement Jaxx, among others, articulated a desire to push Dance/Electronic music to the next decade. In 1999, when they released their debut, new cultures, sounds and ideas were brought into the music. They added back the fun and ensured songs exploded with colour and huge choruses. Epics like Red Alert signified a return to that classic Dance sound: songs that make you sing loud and flock to the dancefloor. The Brighton duo was not the only artists to breathe life into the spluttering corpse of Dance music. I have mentioned artists like The Prodigy and Orbital. Trip-Hop acts like Massive Attack provided a shadowy, night-crawling sound that beautifully contrasted the bright and cheery Dance of the early-'90s. Thematically, things started to change, too. There was a turn from the universal and celebratory to a more insular and negative tone. Again; that is not the case with all Dance. Maybe there were doubts as we headed into the new century but I definitely detected a harder crust and less optimistic disposition. What was inspiring was how artists were pushing beyond Europe and bringing new sounds to the game. The Prodigy sampled a lot – Nirvana’s Very Ape was used on their hit, Voodoo People – and other artists were fusing elements of the 1980s (New Order was an act that were still being incorporated) and suggesting what the future held. It was a stunning clash of past and present that broadened Dance and took it to new heights. 

IN THIS PHOTO: Basement Jaxx

Basement Jaxx, Daft Punk and LCD Soundsystem were the kinds of artists who were redefining and reshaping Dance/Electronic music of the '00s. Maybe that is just a sign of time and growth but it is interesting seeing how a shift between European and British/American Dance radically transformed the genre. Throwing forward to today and I see Dance acts fusing the harder and bolder sounds of the '00s with the coquettish and spirited anthems of the '90s. The worst thing about that shift was the fact the music was tender and less relaxed: the greatest aspect was it was becoming broader and more experimental. Not as one-note as a lot of the anthems from the 1990s: the finest Dance purveyors of the following decade were unafraid to push forward and bring in new sounds in order to create something incredible. One of the worst things about an open music market is the fact a lot of today’s Dance artists employ basic elements and rely on the machine. Too many songs are processed through laptops and lean on samples and digital intervention. The vocals, often, are processed and the lyrics depend upon clichés and basic language. Maybe music, to an extent, has witnessed too much and there is little room for innovation. One of the good things about modern Dance is the fact it does not remain rooted in the present. I hear a lot of artists nod to the 1990s and that reckless light and smile – mixing it with the of-the-moment technology and demands. Dance, as a genre, is not as big in the mainstream as Pop and Alternative but the genre is still thriving and influencing artists. My big desire is to see a semi-return to the greatest Dance music of all-time: that mid-'90s-cum-early-'00s blend. THAT would be incredible! I know technologies are more advanced and the charts have modernised - I could not see many objecting to a reinvestigation of the older, more fun Dance sounds. I love how Dance music still has a place and can throw up epic tunes. The best and most original Dance songs are those that get out of the mindset of chart positions and disposability and dig deeper.

IN THIS PHOTO: Nicolas Jaar

The more youthful and BBC Radio 1-minded Dance artists tend to go for the easy height and are less concerned with preserving Dance’s ethic and pushing it on – nodding to the past and creating a balance of light and dark. The Dance music (of today) I love most can be distilled into an album like Sirens – released last year; it is the finest work from the Chilean-American producer, Nicolas Jaar. That album – one of the best Electronic Dance Music albums of last year – looks at his home in Chile and the political turmoil it faced after General Pinochet’s junta; how it is coping and the issues it needs to tackle. There is a split between artists like Jaar, Aphex Twin and Björk who represent that innovative, genre-fusing and deeper style of Dance/Electronic that brings in multiple genres and has a much more intelligent and mindful approach. There is that contrasting band of sweaty and juvenile Dance that employs anodyne beats and aimless electronics – designed to get the clubs jumping but not linger in the mind. Dance will always campaign and impress but I feel it is going through cycles. Right now, it is broader and less definable than it has been in decades. It is a wider genre that seems to reflect the cross-pollinating nature of the artists. I do miss the values Dance espoused in the 1990s but realise how extraordinary the artists that picked up its baton contributed so much. I will not put a playlist at the bottom – you can do your own research – but I have touched upon how changes and time have impinged on Dance music. It is a genre I still love but I wonder whether we will see artists embracing the quality and innovative spirit of the late-1980s and early-1990s. I shall put on the childhood bangers I love but keep my ear open to the best of the modern breed. I feel Pop still dominates the mainstream: if Dance were more variegated and consistent, I would like to feel it could have the same vanguard drive it did during its heyday. In a dark and unsettled time; that is a dream we…

PHOTO CREDIT: Unsplash

ALL would like to see realised.

INTERVIEW: Rising Appalachia

INTERVIEW: 

 Rising Appalachia

________

IT has been a real joy getting to know…

the sisters of Rising Appalachia. Their music has been lauded by the likes of NPR, Paste and No Depression. They are household names among festival-goers and played alongside Damien Rice. I talk to them about the new live album, Alive, and what we can expect from its lead-off single, Lean In.

They talk about the earth and their surroundings; how inspiring the land is to them and the ethos behind their music. I learn about the sound and cultures that go into their music; the West Coast tour dates they have coming up – including a series of gigs around California – and whether there is new music coming next year…

________

Hi, girls. How are you? How has your week been?

Good. Long.  

Lots of planes… lots of naps (L.o.L.).

For those new to your work, can you introduce yourself, please?

We are sisters Leah and Chloe Smith: born and raised in Atlanta, Georgia by some incredible Appalachian Folk music parents and extended community.

Rising Appalachia is also Biko Casini on Global Percussion and David Brown on Stand-Up Bass; Baritone Guitar and Banjo. We play a melting-pot of Folk music that is simplistic and textured with both Southern-American lineages as well as global roots. The band has songwriting that highlights vocal harmonies and incorporates elements of clawhammer banjo, fiddle; double bass, and acoustic guitar - along with World percussions such as the djembe, barra and bodhran.

We also like to feature a lot of Spoken-Word. Our goal is for Rising Appalachia to be both genre-bending and familiar at the same time. We also work to utilize our platform as musicians to help promote social and environmental justice causes - with the aim of educating and inspire positive change.

We wanted to form our own business standards as well as break out of the formal stage barriers…bring music back to the streets and creating space for different artistic collaborations along the way (poets, dancers; painters, non-profits, speakers; education initiatives, farmers; youth groups, etc.).

We ask the question: “How can we make music that reaches further than the edge of the stage…further than the Sat night dance party?” - one that has lyrics that speak to a human experience and a concert-model that asks the audience to come ready to participate - it is not just a passive entertainment.

We are asking our ‘fans’ to help us shape this work: to bring us their stories, their songs; their local beacons, artists; environmentalists, justice worker; local medicine, wild foods; regional lore…so that we can showcase all the collective efforts it takes to move towards that “more beautiful world our hearts know is possible” - as author Charles Einstein calls it.

Can you tell me the inspiration behind the name, ‘Rising Appalachia’? Is there a particular significance behind it?

We were urban kids: born and raised in Atlanta (near North Georgia) and the beginning of the Appalachian Mountains. But, our mother was involved in the traditions of Southern Appalachian Folk music. We aren’t trying to retell Appalachian traditions or re-live urban traditions, but, instead we are trying to take all of our influences between our exposure to Southern Appalachian Folk music and our relationship with the deep urban South and Jazz - and create a sound that is rising out of Appalachia; a new tradition rising out of all of these old traditions.  

Leah had a dream that specifically held the name ‘Rising Appalachia’.  

As sisters, you share a love of music - but can you remember when you decided to go into music together?

Leah: Because we are sisters; there were very natural and unstructured beginnings to this project that formed a different sort of foundation than your standard band approach. We grew up with music so we’ve sung together ever since we were babies. I am three-and-a-half-years older than Chloe and, ever since we were both little kids, we were in music circles.

Our mother used to sing us harmony parts to various songs in our ears at a young age - so that we could hear how the sounds stacked up and complemented one another - and how some notes would bounce or create tension with other notes.

It was always a big part of our lives but we were both doing outreach, education and activism in college and beyond. We made an album as a holiday gift to our family. We recorded it in a day. It was just a fun thing that we did - mostly takes of old songs. That was the beginning. This was about nine-and-a-half-years ago: way before the name Rising Appalachia even existed. We would play tunes with our family and at the farmers market sometimes and it got picked up by a community of music appreciators - and we started getting asked to perform.

Without fully realizing it; we forged our own music management concepts - and basically learned how to run a business as well as an expansive art project. Art makes industry: industry does not make art. Industry helps art but can’t create it. We felt that the standard way that musicians worked was not the structure we wanted to pursue. The fact that we are sisters has helped us stay true to our vision...

I think our sisterhood has kept this project alive and breathing for the most part. When one of us is just about to collapse the other one can step in and take the touch. We know that about each other so well. We also know every button to push, but mostly, we are allies to each other. We try to take time off to just hang out together and keep our friendship strong - and there is never any doubt about where the loyalists lie. So, perhaps sometimes we might crave a little more space than we get - but we keep a strong balance.

What kind of music did you grow up listening to?

We grew up in downtown Atlanta, GA - rather immersed and happily-steeped in both traditional music - Appalachian, Irish; Jazz - and World harmony - singing from our parents and their musical community - as well as (in) the urban pulse of underground Hip-Hop, Soul and the Spoken-Word movement.

Although that might seem an unusual combination of influences, we had fun navigating the cultural melting-pot and bouncing from fiddle festivals in the Appalachian Mountains - on the weekends - to our downtown high-school and underground Dance clubs in the city. We have found the overlap to be a huge creative inspiration in our work as musicians, performers; story-tellers, and bridge-builders.

Lean In is the lead-off single from the live album, Alive. What is the tale behind that song?

Written in the streets of New Orleans in homage to Etta James - and the deep Soul traditions of the South - Lean In is a song of giving love a softer second try.

It seems you have a real passion for conservationism, environmentalism and positive change. Do you feel few artists project spirituality and a sense of responsibility through their music?

We believe that the role of the artist should be to question social norms; the walk of the underserved, poverty; racism, land loss and other deep seeded injustices that have followed the story of humanity. Music is a tool and a catalyst for betterment in our communities. It’s always available to be a resource for social change and a platform for dialog around justice issues in our world. We work to utilize our platform as musicians to help promote social and environmental justice causes with the aim of educating and inspire positive change.

We wanted to bring the music to places where it wasn’t and offer it as a collaboration. We want to see a return of music as a community experience and a tool where musicians are held accountable to be carrying the stories and the dialogues - and the messages of their communities. We believe it’s a bigger responsibility than just entertainment— that the role of the musicians is a public service and an important fabric to the folklore of a society. We wanted to be storytellers: not just drink sales at the bar.

Music-making should lend itself to the whole community: the struggles, pains; celebrations, and spiritual paths of us all.

Alive is your first live album. What was the decision behind releasing a live album and what was the experience like?  

Our past two years of touring Wider Circles has been an incredible amalgamation of creativity, cross-pollination; spiritual and musical growth; dog-tired days on the road - and all sorts of other bits and pieces of the story. Our band really solidified our sound as well as our voice as activists and storytellers in this process – and, so, we wanted to release some music from those journeys that was Alive (in the way that only live shows are).  

Will there be any new music coming later this year?

Yes.

We have lots of other collaborations with other artists in the cooker - as well as some new material of our own.  

We are, however, in no rush.

Your music, Roots-based, is very different from many acts. What is it about this style of music that attracted you?

Folk music has always been By and For the people.

There is a real, true grit and honesty to that - that which we have always found enticing as well as familiar.

The ego can run away with itself in this line of work - and Roots music has a way of keeping the artist close to the ground and on the right track.  

You have been in the industry for over a decade – recorded several albums and amassed a huge number of fans. What has been the highlight of your career so far, would you say?

Oh, there have been many…

Performing at Red Rocks; playing at some of our friends’ weddings; our most-recent Sea to Seed sailboat tour off the coast of British Columbia; performing at a circus festival on the island of Stromboli; playing in a haunted fourteenth-century castle in Southern Ireland; playing our song Medicine at the central fire of Standing Rock - after being invited to the land by the Indigenous Youth Council…

Having our mother and godparents join us on stage in Atlanta; some deep harmony singing… the list goes on and on!

You have a few U.S. dates on the horizons. It seems California, where you will be largely based, is an ideal setting for your music. Do you perform their often and what was the reason for embarking on a tour of the West Coast?

Being born and raised in the South; there is certainly a dichotomy between the Coasts that is a beautiful balance. We have always sought the open air and open minds of the West Coast in our travels - and have been inspired to rub elbows with some of that innovation and bring it back home.

Our West Coast tours are always fully-packed and very abundant - and we give great gratitude to that region for holding us so dear.  

Can we see you in the U.K. at any point?

We were just there this past month and hope to return perhaps next year!

Who are new acts you recommend we check out?

Arouna Diarra, Dustin Thomas; Femina musica, Leyla McCalla and Aurora Nealand.  

What advice would you give to artists coming through right now?

Put your boots on and know the business side of things - so that no one can take advantage of you!

Hire a good team. Find musical collaborators who are both talented AND healthy - so that your life on the road can be uplifted and sustainable.  

Work hard every damn day… and yet… take calculated time off to slow down and disappear from the rush.  

Finally, and for being good sports, you can each name a song and I’ll play it here (not one of yours as I’ll do that).

A song we like?  

Ok…

Chloe: Xavier Rudd - The Letter

Leah: Ibeyi - River

________

Follow Rising Appalachia

Copper in Pocket: Monetising a Music Career

 Copper in Pocket:

Monetising a Music Career

________

ONE of the most troubling things about music is how fraught…

it can be with regards making money. I have spoken to bands, managers and assorted musical players and there is a consensus: it is so difficult monetising their passion. Many get into music for the right reasons – because they want to create something wonderful and share it with people – but there is, of course, going to be a component of commerce. One does not get into any industry without desiring an equitable slice of the pie. How easy, therefore – or HARD, should that be?! – actually making money from a career in music?! That is quite a broad question as different artists are in different positions: there is no set valuation and revenue figure. I was interested reading an article published by Billboard a couple of years back. It provided a comprehensive breakdown of the salaries certain artists made – from sessions musicians through to big stars at Vegas residencies. The figures can be quite eye-watering when it comes to the chasms. The article looks at, largely, the bigger acts: those that can command huge audiences and in a position to write commercial jingles. It is the polemics of the pay-scale that really get to me. I suppose established mainstream artists get to where they are because they have acquired fans; played the game and worked hard. They have the record labels behind them and are in a position when they can get commercials/huge gigs and really clean up. Another article (by thejournal.ie) – asked how bands, in this day and age (2016), make money. The writer of the piece shared their experience:

“For me, having played in bands for over a decade, that figure was €9,000.

You won’t know my name from anywhere but TheJournal.ie and you won’t have heard any of the songs I’ve made, so losing that amount of money isn’t a huge deal.

I mean, it is a huge deal. Nine grand is a good chunk of a house deposit or a car (or 90 cars if you buy my first car again).

But as a payment towards a hobby for over a decade, it’s not that bad.

While home recordings and the internet make getting your music made and heard easier in theory, the reality remains that making music remains pretty unprofitable for the vast, vast majority of people”.

It went on to say how various nations funded musicians - E.I.R.E. being the first up:

“FMC has helped basically every Irish band you can think of at some point in the last few years – Kodaline, Lisa Hannigan, James Vincent McMorrow, Delorentos, The Coronas, Jape, Declan O’Rourke, Fionn Regan.

While Arts Council funding to make an album or go on tour is difficult to come by, the body does run CultureFox and is actively encouraging bands and musicians to see themselves as part of the arts community across Ireland.

Angela Dorgan who runs FMC told TheJournal.ie that they pay a larger percentage out to bands than they get from the Arts Council.

“We run Hard Working Class Heroes as a showcase. So it’s not a professional festival in that way, but the cost of flying bookers, agents and label reps is all covered as well as the backline costs”.

In Canada, it is written, things are different:

“We have some great organisations like Factor and OAC (Ontario Arts Council) and Canadian Arts Council that all fund musicians projects,” says Beth Moore, a Niagara Falls based singer-songwriter whose most recent album Five Out Of Ten was released last year.

There are varying levels depending on what level you are at professionally. I personally won the OAC popular music grant for $6,000 and the Factor (Foundation Assisting Canadian Talent on Recordings) juried sound for $13,000.

She says that many don’t apply for grants because the system can be obtuse and you “have to work for it”.

That is quite a quick and broad sweep of an article that digs deep and does raise an interesting side: many artists are in it for the love. That is the reason one should do anything in music but I do wonder whether there is an inherent stress attached. That sheer passion and drive is a great motivator and isolation. The big, famous bands get paid more than you can believe when they play festivals like Glastonbury. The fees differ between the acts but one can imagine Ed Sheeran, Foo Fighters and Radiohead were paid immense sums – actually, that is not quite the case. There is that compensation of love of the craft that means a ‘smaller’ fee is actually not that bad. Those headliners didn’t exactly beg for petrol money but there is that assumption they get six-figure sums and are helicoptered in. That is not the truth at all: modern music is not as lucrative as we would imagine. I see a lot of chart acts – their videos getting millions of views; their face on every magazine – and they seem to earn their fortune through looks, a sense of ‘celebrity’ and shallowness. Those authentic and harder-working artists earn a lot less than they should and that creates trickle-down anxiety. I am seeing a lot of bands/artists fearful that, if they make it to the top, the rewards are not quite as lucrative as they should be. One might think money is not everything – if you are in a great position you can pay to thousands; getting any money, so you can survive, is surely enough?! – but the reality for underground artists can be strained.

What about streaming services like Deezer and Spotify, then? I shall bring in some text I used when writing my piece about Spotify:

“For example, Spotify says that its average payout for a stream to labels and publishers is between $0.006 and $0.0084 but Information Is Beautiful suggests that the average payment to an artist from the label portion of that is $0.001128 – this being what a signed artist receives after the label's share.

Finally, the per-play figures for streaming service can be misleading, as they depend on how many (or few) users the service has. Beats may pay more per-stream than Spotify, but that's because it has relatively few users.

Artists will be making a lot more money in aggregate from Spotify, and if Beats' user numbers grow, its per-stream payouts will come down. So this graphic isn't proof that one service is better for artists than another, in that sense”.

Those meagre digits are merely a guide but it shows how little one can make from streaming services. It might seem like a million plays on Spotify means big money but it is not going to be possible to pay an artist that kind of money – making that sort of success really pay off. These sites rely, to a large extent, on subscription fees and, if people do not sign up, where is the money coming from?! There is advertising revenue but that only extends a certain way. I was talking to a music manager a couple of weeks back who explained how his band have garnered impressive popularity on Spotify. In real-world terms, they are not earning money that reflects just how well they are doing. They might get a small sum here and there but, in reality, it is rather poor. They perform small venues and get quite a few gigs in but it can be hard getting consistent gigs. There is no hard-and-fast rule when it comes to profit and artists. Every venue pays differently and various streaming sites have different payment structures. Music is a business and, it gets me thinking, whether a lot of artists are being denied their fair cut? I have spoken about passion and the desire to make music regardless – that is a huge thing to hold onto and the reason so many artists endure and campaign.

The thing is: music costs money to make. That is the real reason I wanted to write this piece. A lot of artists are happy performing gigs and earning money from those shows. It is never a huge amount but they can keep themselves in the black and construct a name. The problem comes when having to pay for recordings and studio time. A lot of artists have to self-promote and pay for their own campaigns. Getting posters made and recording videos; hiring producers and making sure your music gets into as many hands as possible. If you want to take a D.I.Y. approach – and many artists do – then you can record a song/E.P. fairly inexpensively. The thing is, how much money will an artist make when it is released?! I read an article from DIY Musician that detailed the costs (big bands) have to consider when making an album:

Hard Costs

“Hard costs are considered the fixed, actual, real, no-frills-added costs to make a record. The bare minimum it would take, before you include extras that are not absolutely crucial to the process.Technically, there are no hard costs in recording an album. Self-produced songs created in basements everywhere cost nothing to make. Unless you’re figuring in equipment, instruments, and computers that you would jam on anyway, the absolute minimum cost to produce a record is $0. Realistically, you may need to rent a real studio to make your record. Studio rental time to lay down tracks and mix them into songs can get done in 1-2 weeks, if the songs are written, rehearsed and ready to go. You can get the prep work of writing and rehearsing done in your home or band practice space, for no extra cost. This is the extent of the actual “Hard” costs of making a record.

Soft Costs

Here is where expenses for producing a record go through the roof. Soft costs include things like Excessive Producer Fees, Screwing Around Costs and Band Pampering Expenses. One can easily see how these “costs,” once considered fixed and non-negotiable expenses for making a record, can be pretty much eliminated.  Here we break down the sub-sets of Soft costs.

Excessive Producer Fees

When records were selling like gangbusters, the studio producer could set his fees based on how many units the album would likely sell, using past record sales as the barometer. So basically you anticipate a pile of money, and base your fees on what you think your fair share of that pile is. When the pile of money is a mountain, the producer can feel justified in charging 6-figure fees plus backend points for services, and everyone is still happy when the record is a hit. But when that pile shrinks to an anthill, those fees need to be reassessed according to the anticipated sales. Nothing in the process of producing the record has changed – band members, producers, and engineers still worked just as hard getting the record made. The money has simply disappeared, and so should the producer’s fee for producing the record.

 Screwing Around Costs

In the days when a record was king, bands like the Stones would actually write their material in the studio. Bands would literally come into the studio with nothing and tinker around with their instruments as the $800/day meter ran on studio time. This was common practice up until 15 or so years ago. Of course, these costs can be eliminated if the band is prepared to record their music before hitting the studio. The music industry can no longer afford to spend thousands a week “finding inspiration” in an expensive recording studio. Bands should be able to do this anywhere else, for no extra cost.

Band Pampering Expenses

There are plenty of totally unnecessary expenses that have nothing to do with actual recording that get lumped in with producing a record, namely partying and excess living expenses. The advance given to a band from the record label, which is meant to allow the band the freedom of concentrating solely on making the record, is expected to spent on each band member’s living expenses while recording the record. But some bands take “living expenses” to the extreme. Korn spent several million dollars just renting houses while recording the album Untouchables. That’s insane, totally unnecessary, and a complete waste of today’s limited resources in producing music.

Bottom Line

By most recent, practical, and prudent estimates, you should probably budget $10,000 and 2 weeks’ time to your record your album. Anything over 10K and you’re getting into Soft costs that aren’t necessary to producing your record and won’t add anything to the quality of the music”.

That might be a bit of an American/mainstream-act breakdown but it shows how much an L.P. can cost to create! If you want a professional sound: you have to shell out huge amounts. Newer artists can afford to do things without thrills and big engineers but it is a piece that shows how staggering studios can cost. Sure; if you want a quality product then you are going to pay that much, right?! Once the album is out there then it is only a matter of waiting for the profits to roll in?! C.D. sales are, as we know, declining and people are spending less of their money on physical formats. Gigs are still big but, as we see in this country, small venues are closing. Because of less disposable income – rent prices and cost-of-living getting steeper – the average punter is more reluctant to go to their local venues. These spots serve alcohol and people are drinking less. Transport prices are increasing and, all combined, this is seeing so many shut their doors – unable to keep up with rent and overheads.

It is sad seeing the live music scene shrink but is there an easy solution? So many artists rely on these venues to get their music out there and earn some cash. A single gig might bring them a two-figure sum but, if they string enough together, it can add up. If there are fewer opportunities, then they need to rely on C.D./album sales to fill the gap. That, as is known, is not going to be possible. Throw in the figures streaming pay and it appears all options are exhausted. Passion and love are great but it does not, I am afraid, pay bills and fund a lifestyle. I worry music is less of a reality and more of a struggle. That financial burden creates anxiety which leads to depression: that can have a devastating effect on a person and, in a lot of cases, end a music career. This may seem like figures and random facts thrown together but, from what I have shown, there are two things evident. There is a huge difference between mainstream stars and new acts – although the top artists do not earn as much as you’d think – traditional sources of revenue (C.D.s, gigs and merchandise) are not as dependable as they were. Many artists can shift merchandise at their gigs but, if there are fewer attending – how much does that add to the coffers?

I shall end by talking about the music manager friend who, when talking about his group, hired a P.R. company to promote the latest single. Every campaign can cost anywhere up to a grand: that included the P.R. firm sending the song out to bloggers and journalists; touting for reviews and getting it out there. Many times, these campaigns are simple press releases sent out – those reviews and journalists copy-and-paste the press release and that is it. When you look at the balance sheet – and how much money is made – it is often in the red. The idea of hiring a P.R. company is getting an artist more gigs, sales and revenue. This is not always happening and it can seriously dent confidence. I worry music is far less profitable and attractive than it once was. Maybe the sheer number of artists on the scene means it is going to be hard to earn cash. I feel there are other reasons why this is happening. Venues closing are having an effect; the shift from hardware success to streaming dominance means music is more readily available – people are less willing to pay for it, mind. The love of music is a powerful thing and often compensates for the lack of financial rewards. I am not talking about huge profit: merely making enough money to live and record. I am anxious about the state of music and whether artists are able to survive and prosper. It is a complicated argument but one we…

ALL need to think about.

ALL PHOTOS: Unsplash (except Spotify image).

FEATURE: Kate Bush: The Continuing Muse

FEATURE:

 

Kate Bush: 

PHOTO CREDIT: John Carder Bush  

 The Continuing Muse

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YESTERDAY was the fifty-ninth birthday of Kate Bush and…

a timely reminder of her importance and legacy. It is hard to believe next year she will turn sixty next year! I remember, as a child, being transfixed by music videos of her (in the 1980s). It was a revelatory and unforgettable time that awakened my young senses to one of the greatest figures in music history. Rather than needlessly prattle about my infantile recollections: seeing as this is a (slightly belated) birthday piece for Bush; I wanted to look at the effect she is having on modern musicians and how important she is – and why next year is a particularly special one for her. Not only will she hit the big six-zero – perhaps, not the biggest cause for cheer – but it will be the fortieth anniversary of her debut album, The Kick Inside. I have written pieces about Kate Bush before and, in so much as this will be the last one until next year, want to pay tribute to someone who continues to influence and seduce new artists. It is amazing how many reviews and interviews I take on where Kate Bush’s name is included – cited as an idol and Muse.

If one goes back to that unique and flabbergasting debut album: how many who witnessed it first-hand would imagine the world would be talking about it now?! To me, it is the greatest album ever because it has such a delicate disposition – but is full of contrasts and wonders. I can dissect the album and give a forensic investigation – I won’t, you’ll be thrilled to know – but there is so much intoxicating beauty and delicious flights-of-fancy. I listen to The Kick Inside and notice a mix of girl and woman in that L.P. There are moments when her voice is enraptured and enveloped in delirium and fantasia. Feel It is, perhaps, the fullest exploitation of his child-like persona – a sentient and delightful creature that does not bark but soothes and guides you somewhere magical. The history-making Wuthering Heights broke records – in the sense, it was the first self-penned number one song by a female artist in this country.

PHOTO CREDIT: Fish People/Kate Bush

If that were not enough – to make it a stone-cold classic – then the beguiling, The Man with the Child in His Eyes is, surely, ample proof the then-teenager was destined for legend. What makes the album such a revolution-maker was the individuality and self-belief. There were no nerves and compromises from a songwriter who, still in her teens, felt aggrieved to follow record labels and foster her creative drive and intuition to anyone else. There were arguments as to whether Wuthering Heights should be released as a single – she got her way in the end – and there was an assumption she was your average songwriter. Today, there are so many Pop stars that, one feels, are controlled and dictated-to by record labels and marketing men. In 1978, when The Kick Inside arrived, Kate Bush was not going to be a puppet.

PHOTO CREDIT: John Carder Bush  

She has created the songs single-handed – a staggering achievement then: it seems rare in this day and age – and revealed herself to be a prolific and multifaceted talent. It is important The Kick Inside gets a proper fortieth birthday next year: not meant to feel older or past its best days: as baffling, immaculate and tender as the day it was released. One cannot decay, denounce or ignore the ever-preserved fragility, seduction and curiosity of Bush’s voice. It addresses themes like coincidence and juvenile love: longing and self-investigation in all its forms. If critics were keen on the album – it was not elevated to the same heights as Hounds of Love – it has, in my view, gained immense retrospective relevance and importance. I hear so many modern songs that borrow from the 1978-songbook. If few songwriters can create something as timeless and unexpected as Wuthering Heights: suggestions and flavours of The Kick Inside find their way into many of today’s songs – not only from female artists, you’ll be pleased to hear.

PHOTO CREDIT: Fish People/Kate Bush

Lionheart (1978) and Never for Ever (1980) marked a period of expectation, creative confusion and hurried scheduled. A lot of Lionheart’s songs were compositions recorded before The Kick Inside was released – Never for Ever did not reflect the finest of Kate Bush. It was not until 1985’s Hounds of Love when that peculiar and unbelievable peacock was allowed to spread her wings – that might sound like a poor comparison but it reflects the colour, majesty and pride of the proud artist. Yes, 1982’s The Dreaming was a marked improvement and found Bush more focused, varied and assured. She added raw and almost-masculine elements to her voice; ventured into new songwriting territory and pushed herself as a composer. Hounds of Love, invariably, is the album that will get the most attention.

PHOTO CREDIT: Fish People/Kate Bush

It seemed to come out of nowhere. Few expected something as unbelievable and epic after a run of ‘mixed’ albums. Forcing herself to go away and create the album SHE wanted to create – Hounds of Love is the songwriter hitting her absolute best. Running Up That Hill (A Deal with God), Hounds of Love and Cloudbusting are the standouts. That conceptual second-side is a brave move but one that allowed Bush to create an album of two-halves. It looks at a heroine cast adrift in the ocean: looking for salvation and finding her hope fading in the dark. It is a terrifying, claustrophobic and gripping narrative that one is engrossed in. Not to skip over the remainder of Kate Bush’s albums, but the point of this piece was to highlight what an inspiring and important talent she is. Albums after Hounds of Love continued to push new ground and, aside from the odd critical miss (The Red Shoes being one), the fact Bush could continue to stun and baffle the public (and critics) showed what a unique and peerless talent she was.

PHOTO CREDIT: Fish People/Kate Bush (a promotional shot for her 2011 album, Director's Cut)

One hopes there is plenty more music to come from Kate Bush. She is sixty next year and it is a perfect opportunity for journalists and fans to speculate and predict. Maybe Bush is already working on new material or another tour? Her 2014 shows at London’s Hammersmith Apollo, Before the Dawn, mesmerised the masses. It was a fantastic and year-defining set of shows that proved what a passion there still was for Kate Bush’s music. Female artists like Madonna and, in modern terms, Lady Gaga, have managed to compel and inspire musicians but few have done it in the same was as Kate Bush. There was nobody like her in 1978 and, you can argue, there is nobody like her now. 50 Words for Snow, released in 2011, was the last L.P. we received from Bush. One wonders whether next year will see a fresh album released but, in reality, there is no rush. She is an artist who has never been beholden to deadlines and conforming. She takes her time to craft an album that she wants: given the problems rushing lead to in the early days; she has deliberately chosen to slow and take time for the music to form.

PHOTO CREDIT: Fish People/Kate Bush

She does not have the record labels breathing down her neck (as she runs the label, Fish People) and is not being hounded for new material. I can understand why that happened after The Kick Inside. People could not handle the enormity and singularity that was Kate Bush’s talent. Keen to mine it as readily and expeditious as possible – that had a detrimental effect on her quality and happiness. There is no album as free and revelatory as The Kick Inside: none as epic, sweeping and wondrous as Hounds of Love. From The Dreaming’s stunning heights and Ariel's ’scope and unpredictability – a double-album that was released twelve years after The Red Shoes  - there is so much to Kate Bush, as an artist. Each record (from Kate Bush) is a joy and completely new experience. I long to see more Bush material but treasure what we already have.

The reason I feel The Kick Inside is so pivotal is the fact it redefined what it was to be a female artist. Here was someone who did not take crap from the labels and was not going to be a controlled artist, designed to be a sex symbol. Sure; Kate Bush made the eyes water in 1978 – one of the most striking and sensuous humans one could envisage – and still holds arsenals of charm, allure and beauty. In interviews, she explained how prolific she was as a child. Writing oodles and masses of songs by the night; she would perform them to her family – some songs went on for hours; people would walk out. It was the first suggestions there was something different and wonderful about Kate Bush. This has come to fruition and, through the decades, she has become our most treasured and important female songwriter. It is the way she has translated through the years that really wows me.

PHOTO CREDIT: Fish People/Kate Bush

I feel there is no other artist that has had such a profound and mutating effect on modern music. Artists are influenced by her but redeploy her sounds and shades in strange and impressive ways. They, through her, are pushing Pop music forward and creating some incredible music. Lest we forget how important Kate Bush is to music’s past, present and future. If you are not ready to worship at the altar of Kate Bush a day after her fifty-ninth birthday: you surely must next year. The Kick Inside turns forty – its author, sixty. It is a perfect time to pay tribute to a colossus of music who has made an immeasurable impact. Until then, let us wish (a day late, admittedly) Kate Bush a massive…

HAPPY birthday!

INTERVIEW: Bella McKendree

INTERVIEW: 

PHOTO CREDIT: Joe Lindsay Photography  

Bella McKendree

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THERE is something wonderfully tangible and relatable…

about songwriter Bella McKendree. Not only is she an artist who writes from the heart: she is going to perform in a Jeff Buckley tribute event – and will meet one of his collaborators, Gary Lucas! I ask about Buckley and how his music came into her life; the musicians and albums that influenced her young – and the sounds/genres she employs in her own music.

I get to learn about her new song, Grieve, and more about the E.P., Waiting. In a city like London; there are hundreds of agile and promising artists all vying for attention. There is an edge and luminosity (surrounding a mystique and soul) that has a vulnerability, compassion and intrigue. McKendree discusses her process and how songs formulate; the revelatory and fortuitous musical discovery following a painful break-up – and how it feels knowing Waiting is about to be unveiled to the world (18th August).

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Hi, Bella. How are you? How has your week been?

Hi. I’m great.

Yeah, it’s been pretty awesome. I’ve got this uncontainable excitement since the record’s been out...so, I’ve been songwriting a lot!

For those new to your work; can you introduce yourself, please?

I am a singer-songwriter from the countryside - now living in London. I write within a range of genres, including Indie-Dream and Alt-Folk - with my roots in Blues, Gospel and Classical music.

My songs are introspective and honest. I often comment and pose questions to society.

Grieve is your latest single. What can you tell me about the song and its inspiration?

When I wrote it, I thought: can I be this honest or is this a song just for myself? I decided to go for it and I’ve seen how people find a connection through my vulnerability.

It is taken from the E.P., Waiting. I have heard the tracks and am struck by the emotion and rawness of some – especially songs like Don’t You Wanna Be Loved. How much of your own relationships and experiences go into the E.P.?

To be honest: I’ve been very transparent.

My songwriting stems from my heart so, whatever I’m feeling, flows out of me.

Bell3.jpg

Was it quite difficult to record, emotionally? It seems like you put your heart out on every track!

I’ve found a huge strength and confidence in not holding back: plus, it’s pretty cool that every time I sing a song I can relive that experience...like time travelling.

Waiting was produced by Brett Shaw (Florence & The Machine, Roisin Murphy, Daughter). What was it like working with him and what did he add to your music/sound, would you say?

Ah, it was so great!

I loved his studio with bird-origami on the ceilings. There was a calm atmosphere thanks to his easy-going nature. I had an open mind and no fixed sound in my head – so, we literally just went for it and saw what happened.

Brett added a fullness and ethereal quality.

 I hear shades of London Grammar in your music. Are they a group you look up to?

YES.

I would always play their album to and from college in Brighton. I love the colours in Hannah’s voice. Their whole vibe is grounded but epic!

You are one of five siblings. Is music your way of finding your own identity and, in a way, feeling less alone?

Through music, I find a deeper, grounded place.

When I play, I feel like I’m somewhere else where time and reality disappears. It’s always been like that for me. It’s highly addictive and soothing.

There’s such an ecstatic level of freedom when I write that I feel fearless and that empowers me. It’s how I process, reflect and see the world.

Recently, you have moved to London and started to gig in the city – working with some top names. How important is London and how much of a difference has it made moving there – in terms of opportunities etc.?

A lot changed when I moved here...

The music scene and charisma of the city is so exciting - with lots of incredible artists to bounce ideas off.

It’s a springboard for living out my dream.

Sofar Sounds is a gig-series you have been involved in. What it like playing those intimate shows and where will you be playing more this year?

It feels like stepping back in time and exploring more of what music was before the emphasis on production. I love how it brings people together.

In a culture which always uses as much as possible: it’s really beautiful to see music stripped back - there’s a power in breaking off the layers. I’m playing Southampton on the 22nd and Sheffield on the 29th August.

Jeff Buckley is my music idol so I am interested in the fact you are playing in a tribute show on 9th September! What is your connection to Buckley’s music and, without getting nerdy, which songs of his touch your heart?

Ah, same!

My sister introduced me to his music. I remember it was a dark December day and I had just ended a relationship. Then, Lover, You Should’ve Come Over came on. I literally was like: “DID THAT JUST HAPPEN!?”.

It was incredible because I could tell Buckley was not afraid to show his emotions and that’s where his strength lay. He shaped my early music and musical expression.

IN THIS PHOTO: Jeff Buckley/PHOTO CREDIT: Anton Corbijn

My favourites are Grace, Last Goodbye and Lover, You Should’ve Come Over.

Gary Lucas, who co-wrote a couple of tracks on Grace and played with Buckley in the early years, is there. Are you excited about meeting him?!

Yes!

Absolutely: it’s surreal. Excited is an understatement!

 Can you tell me the artists you grew up listening to and what sparked that passion for music?

My siblings were always swapping songs around.

The Fugees, Radiohead and Rod Stewart spring to mind. My dad was always playing Blues-guitar and my mum singing Classical and Opera songs. I remember very clearly, when I was eleven, watching Alicia Keys sing Fallin’ on Top of the Pops - and feeling so empowered by her performance. Being a woman too, it unlocked something within me and triggered a desire to perform. 

I remember telling my whole family to get out the sitting room so I could play the piano. I knew then I wanted to be a singer. I think even though I didn’t have a name for it I could feel some kind of restraint on being a girl growing up. So watching women like Kate Bush, Shania Twain and Tori Amos on stage affected me even more so than male musicians. 

What do you have planned for the rest of the year? Touring and recording or will you get a chance to unwind?

On the 7th September, I have my E.P. Launch at St. Luke’s Church, Kentish Town – and that's a couple of days before the Jeff Buckley Tribute.

We’re playing the following festivals: Sunrise Celebration (Bristol), Camper Calling (Birmingham); Gorjys Secrets festival (Wales). In December, I’m playing a Streets of London charity gig.

I’d like to record another E.P. before Christmas. At the moment, I’m enjoying the buzz and loving performing. 

Are there any new artists you recommend we check out?

I saw this band, Concrete Caverns, play the other night.

The frontman was very charismatic.

If you had to select the three albums that mean the most to you; which would they be and why?

1. Cat Stevens – Matthew and Son

 It reminds me of my childhood and walking around school singing: “Don’t be shy/Just let your feelings roll on by”.

Each song is perfectly carved.

2. Tori Amos - Little Earthquakes

I love the intense level of engagement you get in her voice - and the movement in the takes.

3. Jeff Buckley – Grace

Timeless.

It helped navigate and let out the emotional rollercoaster of my teens.

What advice would you give to any new artists starting out right now?

Have a clear vision of what you want to do but, more importantly… why.

Have integrity, drive and resilience.

Finally, and for being a good sport; you can name any song and I’ll play it here (not one of yours as I’ll do that).

The 1975 - Somebody Else

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