FEATURE: In Bloom: Can a Website Cure a Lot of the Issues in Today’s Music and Make Us More Sociable?

FEATURE:

 

In Bloom

ALL PHOTOS: Unsplash

Can a Website Cure a Lot of the Issues in Today’s Music and Make Us More Sociable?

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IT is still the first day of 2018 so I am not going…

to start pushing myself and getting ambitious until the weekend at the very least! This year; I will repeat some points I laid out in 2017. I have talked a lot about sexism, racism and imbalances that are robbing great acts of coverage and equality. I am making pushes regards my Kate Bush documentary (hoping to get something out before February) and I want to, above all, make concrete development regards my website. I have pitched various pieces about Psychoacoustics: a website that would draw together all the facets and functionality of existing sites and put them into one place. I have taken a rather technological and electronic approach to the end of the year. I talked about the effects of social media and why we should encourage less time on it - maybe there is an irony talking about a website where we encourage artists and fans to spend time on. My concern around social media is less to do with the fact it is indoors and we are wasting our lives away: the fact is, we are not being productive and are open to trolling and abuse. Too many people are subject to bullying and negativity; the ‘social’ side of the Internet means we spent a lot of time staring at screens and sharing pointless information. It is important we retain a certain attachment to social media but I have been wondering what effect it has had on the collective consciousness.

Whilst I am seeing a lot of developments and good aspects of social media – music able to get far and wide; new connections and bonds made – but the downsides revolving around the amount of time we spent on it and what we actually get back raises questions. I will not write too many other pieces around social media but there is a desire in me to spend less time on it and move towards something more material and constructive. One might say a music website is the same thing as social media. People are facing the same problem and the addictiveness is the same. As 2018 begins; I am determined to get ambitions and plans moving and developed. There are three reasons why I am determined to get the website going and focalise all my music stuff into one place. It is possible to integrate all the social media strands into a website and not have people switching between sites. Sociability is an important part of music - and direct contact with artists/labels would make promotion and connections a lot easier. Right now; we have to email companies, D.J.s and artists but, if there was a messaging service where we could contact them instantly; have music contacts only – instead of general ‘friends’ on social media – then that would be a more productive way of socialising and connecting.

Rather than obsesses over status updates and photos; those who love music would have a more economical and relevant timeline/chat function and layout. One of the things that concern me about social media is we are commenting on things that do not matter; watching and seeing information that adds nothing – if we are going to spend time on the Internet/social media; it might as well lead to something beneficial. Another reason I wanted to set a website up is to combine all the various elements of music media into one. How many blogs and sites do we look at of a day?! I must visit half-a-dozen and I often look at another five or six music-related sites. I watch YouTube and listen to Spotify; I am on Twitter and Facebook for my updates; I have my email accounts I check; I am all over the place and spent a lot of time flicking between pages. Having all of those in a menu and combining that with a menu would mean I could have a one-stop access to all the blogs/record labels/magazines/music-related sites that I need of a day. Information is power and, in music, that takes two forms. For musicians and writers; there is that desire to research and discover; to find opportunities and progress. That could take the form of gig listening and local venues; bands/artists broken down into location/genre/alphabet – something not being done on streaming sites and music websites. I am concerned there are too many empty calories on social media. It is the way we promote music and discover new artists.

Everyone and everything is bunched together and we get easily distracted. Right now; things are so disorganised so we are getting waylaid and obsessing; we are in a lower state and mental-health concerns are growing. I am not suggesting a  disciplined and regimented music website would allay or erode the issues we have. It would be there for those interested in music but be a positive and safer space. I have seen reports recently of various problems arising. Female artists being abused on stage and marginalised because they are not considered Rock/raw – that is something that should be eradicated. Putting platforms and forums up; sites and information that counteracts this sexism and educates those culpable…a way of sparking debate and reducing the occurrences. Solange, a popular mainstream artist, had to cancel her New Year’s Eve performance/set because a nervous system disorder. Making people aware of that condition would mean other artists with the ailment would get support; it would expose ignorance and highlight underrepresented maladies and issues. There are so many other topics that could be raised. Details about music festivals and school; ways to get funding and controversial topics that have been raised – such as pay-to-play and the problem of depression in music. Informing people and providing links; making changes and moving forward – it would be a way for music fans, musicians and labels/stations/managers to all have their say and connect with one another. Alongside information is education. I am keen to bring together all the sites and websites – concerned with music and anything that could impact on musicians/fans – but eager to see older and new music combined into a single site.

This might be me traversing trodden ground but every day that passes sees me more and more frustrated with the state of streaming and music-sharing websites. I stumbled across songs I have not heard in years; I feel many people are not being exposed to the greatest music from the past. The only way to preserve the past and lead to a fuller music scene is ensuring people can find older sound – and putting them in an organised and compartmentalised place. Whether we integrate Spotify and YouTube alongside SoundCloud and BandCamp: a network or single site/search engine that makes it easy to get on top of all the great new music coming out is key; ensuring the treasures of the past are safe and advertised is crucial. This means new listeners can discover old gems; musicians have more material and archive to source from – it is beneficial to everyone. Making sure all recorded music, past and present, is visible and easy to navigate is as important as providing all the tools and sides to music. Software, where we can record instruments; ways of collaborating online and seeing all the best visuals, documentaries and videos is another consideration. Having a bespoke music library/search engine where one could find any album cover/album information is a good idea; investigate certain genres and, in a sense, create lessons and structured seminars for curious listeners and artists.

The idea is to tie together everything we already have so artists can be better informed and resourced. Listeners have greater availability and can discover music a lot easier. There is a lot of negativity and imbalance in music so, with the Internet at our disposal; there is a desire to provide a supportive community and tackle these problems. Encouraging debate and dialogue are vital in these times and the Internet is one of the most effective ways of achieving this. We all know the way music can improve and inspire so finding ways to achieve that is paramount. Warnings have been provided – by high-profile figures and musicians – as to the detrimental hold social media has. It is a chasm for aggression and abuse; a place where people feel exposed and do not feel safe. Getting away from that side of the Internet and creating something better guarded and music-based – with a social media component running as a minor thread –is a way of remaining on social media/the Internet but adds education, information and music in. Of course; there are downsides transitioning between a reliance on social media and transferring to a new site does not wholly get rid of the problem. The garden does not get rid of its weeds – and replace them with roses – without proper care and common sense.

It is hard to protect everyone and ensure we do not spend too much of our lives on computers. That is quite hard to achieve when you work in music. Most of the daily workload is done online; we spend time promoting and chatting – that does mean there is less time to rest and be a human being. I think a social side to the website that encourages people to get out would be a good idea. Whether that is a dating website or social events; it is key we get people out, together and interacting. It is possible to achieve all you need as a musician/fan, have that element of social media and not change too much – whilst allowing more time to get into the open and allow some room to breathe. Most of us are staying in and spending less time with our fellow humans. That is because of a number of things but I feel we are becoming less sociable as the Internet/social media take a bigger hold. That can only get worse so attempting to reverse that, whilst offering a gateway/transitional option, means the balance can be redressed and we can all improve – become more social and better-informed. I am worried about a number of things and the Internet can, ironically, be a cure to the problem it is creating. It will take a little time to ween people from their addiction to something else but, as a music-lover who wants to socialise more with people like me – and feel less isolated and depressed – there are possible remedies to the…

PROBLEMS we have before us.

FEATURE: Spotlight: Confidence Man

FEATURE:

 

Spotlight

PHOTO CREDIT: Rachela Nardella/Press

Confidence Man

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THE best album to end 2017 was from the Melbourne…

PHOTO CREDIT: Press/Getty Images

band, King Gizzard & The Lizard Wizard. Gumboot Soup is their fifth (and final) of the year and one can forgive them for wanting a good rest in 2018! They will not do that but it got me thinking about artists doing things differently. I love the band because they are so prolific and changeable. Each album brings something different to the table. I like how they switch styles and push boundaries. The fact the band released five albums last year was a shock to many – critics wondered if it would be possible at all. They have shown other artists how to do things. Australia, it seems, is producing some incredible artists because Confidence Man, in a lot of ways, remind me of King Gizzard & The Lizard Wizard. The Brisbane band impressed with their single, Boyfriend (Repeat), last year. Its stop-motion video sees Ken and Barbie mixed through a blender. Confidence Man’s Janet Planet talked about the song and video:

“We wrote this song at our home studio in about two hours. By the end of the day we were so excited and drunk that lots of stupid ideas seemed to be working… which is where the lyric ‘I hate bacon and eggs’ comes from. It’s probably not something we would come up with normally, but the next day when we listened back it turned out to be our favourite part. As for the video, we haven’t played with Barbies for a while, but it seemed like the right time to get my old Ken dolls out”.

The band played shows in London in the summer and it was the perfect time to boost a song that gets the colours flowing and the voice singing. Its chorus sticks right in the head but it is the way they subvert Pop clichés and add their own spin that gets to me. Other artists have lined up to remix the song and it shows how immediate and popular the band already are. I have looked around the new artists coming through and hear a lot of promise. All are doing their own thing and keen not to repeat what is already out there. Confidence Man are not heard to con us and dupe the unsuspecting listener. Their music is pure and delightful; it rushes into the senses and has a whiff of the 1990s. I feel one of the defining moments of that decade was the 1990 hit, Groove Is in the Heart. Deee-Lite’s best-known song has endured and continues to amaze because of the samples and shifts; the joy and giddiness you get when listening to it. It was a magnificent start to the decade and inspired other artists to take a similar approach to composition and the genre. Boyfriend (Repeat) has touches of Groove Is in the Heart: their follow-up track, Bubblegum, certainly reminds me of that song! It has the flair of the 1980s and brings so much flair and fireworks to the plate. The beats and electronics tumble and conspire; they fizz and percolate.

It is an extraordinary song that tops their previous effort and shows they are on an upward trajectory. The double-B motif continues with Better Sit Down Boy and continues that explosion and innovation. It is a different beast and sees the band embrace new sounds and lyrical direction. There is that attitude towards cheating and dishonesty; the spirit to take control and that rare blend of taking something with serious undertones and providing a fun and frivolous glee. That track was released a few months back and capped a fantastic year for the band. I am not sure how their music will progress in terms of its scope and sound; whether they will carry on with the B-only song-titles or they expand their alphabetic horizons – but I know the Australian band will go on to big things. I am not sure whether they are going to spin new material but it is clear there is a big army of fans who are bonding with their music. As I continue to write and search for new artists; I am watching Confidence Man and seeing what they pull out their bags next. I would like to think, if an E.P. or album arrived, they would keep with the B-themed songs and stay on those lines. Each song is very different but retains their inventiveness and insane spirit. Their videos are brilliantly conceived and I have seen few other artists take such care and detail with regards their material/videos.

There will be a lot of artists vying for attention this year – I feel Confidence Man will do some great things. In the coming weeks; I will spotlight other artists but I think the Australian band will continue to push limits and inspire imaginations. They say the Pop market is going to change and augment this year. Hungry new musicians are coming through and adding something fresh to the form. It has been long overdue and I am confiden the Boyfriend (Repeat) creators will be hustling with the biggest new acts around. They have been playing together a while but this year has been especially productive and successful. Having played gigs in the U.K.; one feels American touring is going to be part of this year’s plans. The demand is out there and the Australian group are responding with a kaleidoscopic, tropical blend that judges boring boyfriends and losers of love; they document things we are all familiar with – bringing a unique twist to the table. Throw your love and weight behind their music and make sure you keep abreast of all their developments. 2017 was a busy and exceptional one for the group. I have a feeling this year will be the best…

OF their career.

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Follow Confidence Man

PHOTO CREDIT: Confidence Man/Getty Images

Facebook:

https://www.facebook.com/confidenceman1/

Twitter:

https://twitter.com/confidencemantm?lang=en

SoundCloud:

https://soundcloud.com/confidenceman

YouTube:

https://www.youtube.com/channel/UCueIFVa2ovXJWFYnz4FQxQw

FEATURE: Eternal Muse: The Continuing Inspiration of Jeff Buckley’s Grace

FEATURE:

 

Eternal Muse

PHOTO CREDIT: Merri Cyr

The Continuing Inspiration of Jeff Buckley’s Grace

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IT is a bit soon to come out of the gates…

PHOTO CREDIT: Merri Cyr

with any predictions regarding new music or bits of music news. I will talk about another regular fixture on my pages, Kate Bush, and why I want to concentrate on her a lot in 2018. The year has just begun and, why I am keen to explore everything going on right now, I have been thinking about an album that keeps coming up in interviews I conduct: Jeff Buckley’s Grace. Maybe apropos of nothing; it is interesting investigating why the album appears so frequently in the minds of new musicians. I have looked at all the interviews from last year and the album musicians listed as their favourite, above all, was Grace. It is easy to see why it would resound in the minds of new musicians but is the impassioned way they discuss the record that stands out – in the same way so many musicians single Kate Bush as their most influential artist. The record was released in 1994 and, at the time, I was eleven. Many of the musicians I interview are younger than me and discovered Grace later in the decade/the start of the 2000s. When Grace arrived (in 1994); the music scene was packed with genius and glorious music. It was one of the finest years in music history and, from U.K. talent like Oasis and Blur, through to U.S. artists such as Green Day and Pavement – the year kept producing world-class albums like there was no tomorrow.

PHOTO CREDIT: Anton Corbijn

You only need to do a cursory search on the Internet to look at all the wonderful albums from 1994. There are some seductive and tender albums in the pack but nothing like Grace. In 1994, as we can see, there was a demand for more anthemic, instant music. From Oasis’ Definitely Maybe to the eponymous album from Weezer – a desire to get the energy levels up and the heart pumping fast. There were more Pop-orientated albums like Madonna’s Bedtime Stories and Tori Amos’ Under the Pink: the general demand was for the bigger, bolder records. Grunge’s king, Kurt Cobain, died and there was a new charge of U.K. Rock/Alternative. It was a transitional time where new orders were replacing the old – among this was a strange and unique album from a new American star. I know I have looked at Buckley’s masterpiece a couple of times in the past year – marking the anniversary of his death and why Grace is considered one of the very best from music – but it seems appropriate to return to the record. A lot of young musicians (in their twenties/thirties) discovered Grace when the Rock/Grunge movement was dying down and the 1990s was coming to an end. Against all the chaos, energy and confusion of the time – that was reflected in the adolescent lives of the listeners – there was the need for something safe and romantic.

PHOTO CREDIT: Anton Corbijn

Jeff Buckley could not really release the album at any other time. Playing cafes and small shows around New York during 1992/1993; record label Columbia signed up the promising songwriter and was keen to get him in the studio. Sojourning to Bearsville Studios, Woodstock; the young master started recording songs that were being previewed and performed to modest audiences in the U.S. He would go on to tour around the world and go down in history but, at that time, the following was relatively small. Few knew what to expect when the album came out on 23rd August. Like all the finest albums that get acclaim after the fact; Jeff Buckley’s only studio album received a smattering of applause upon its release. Sales were not great and it took a while for the public to turn their minds onto the album. That is not a surprise given the demands and climate of music in 1994. Touring, exposure and dedicated passion saw the album gain a following but it is the ensuing years have elevated the record to Godlike status. For me, and many, it represents a shaft of calm in an ocean of confusion. That may sound dystopian but, even in the mid-1990s; there was a lot of negativity and aggression in music. A few artists tried to counteract that with something more uplifting but the clash of optimistic Britpop optimism and a more negative, insular U.S. scene created a fractured and divided scene.

British music would not change and assimilate U.S. artists more readily until the end of the 1990s but Buckley, in Grace, was already ahead of the pack. People responded to it then because it was different and provided an alternative: further down the track, as the dust started to settle; the true relevance and beauty of Grace came to light. It is a personal and revealing album but one that is not too closed-off and heartbreaking. The title-track is a paen to true love and one of the more accelerated numbers on the album; Eternal Life and So Real see Buckley assume a fiercer mantle – looking at subjects of corruption and love with equal conviction and fascination. Each song has a different skin and, in the 1990s and now; that importance and desire are the same. Back then, as young musicians were experiencing the world for the first time; they connected with an outsider and misunderstood soul offering the planet something deeply heartfelt and pure. You only need to look at polls now to see how wrong critics were. Grace is seen as one of the most iconic albums of 1994 and, in retrospect, perfectly fitted into a year where things were changing and people/artists were searching for fresh guidance. You can argue Grace has gained a lot of headway and acclaim because of its standout track, Hallelujah.

PHOTO CREDIT: Mikio Ariga

That song comes as close to perfect as you can imagine: the ethereal, near-religious performance is hymnal and sublime; a song that is as right to score sadness as it is to celebrate an orgasm (Buckley’s version was, as he said, concerned with sex and the orgasm). That song has taken on a life of its own and almost overshadows everything else on the record. Talent shows and endless covers have not dampened the potency and splendour of the definitive version – even its author, Leonard Cohen, could not have envisaged the song would be presented that way. Beauty and grace are present throughout the album. It speaks to those whose hearts have been broken and who feel things too readily. Sensitivity is seen as a stigma to some: to Buckley, it was his way of connecting with things deeply and feeling more than anyone else. The complexities and contrasts of sensitivity are explored throughout the record. I relate to it because the music comes from a man who had his heart broken but was not giving up on the world; he is isolated and misunderstood but has that attachment and affiliation with words and music – what they can do and how they can define a person. I am not surprised to see the record so highly regarded as, to each person, it means a different thing.

Buckley’s personality, warmth and enigma shine in every song. I have heard interviews he gave around the release of the album and you can tell how meaningful the music is. I have not mentioned his band members – brilliant guitarist Michael Tighe among them – and the musicians that worked on Grace. The reason critics and fans ‘discovered’ the record years after its release means the nuance and songs one discovers run a lot deeper than traditional mainstream fare. Many are picking up the album now and playing it on-repeat. The lack of comparative bliss and quality in modern music makes Buckley’s L.P. an attractive option. Musicians are inspired by what they hear and unable to find the same level of brilliance and fascination in other albums. The timelessness of Grace makes it a year-in-year-out guide. The songs talk about love but they are never too specific and personal. The messages one hears in Mojo Pin, Last Goodbye and Lover, You Should’ve Come Over never lose their meaning and importance. We relate to the singer and his soul: we are struck by the layers and rich vocals; the perfect words and the sumptuous production. Grace is an album that is loved by many but the way everyone describes is beyond ordinary. Unlike other classic albums; Grace hits so much harder and seem to connect to a part of the heart no others do.

As I interview other artists through this year; I know Grace will come up time and time again. It resonates with the lonely and pining; it comforts those who have lost love and those in the throes of new passion. The majestic voice and direction from Jeff Buckley entice you in; the nuance of the music keeps you hooked; the way the songs reveal new life and soundtrack every important moment of life means it is more popular twenty-three years after its release. It is amazing to think an album that was released to minor applause has managed to remain in the musical bosom for all this time! Stick the record on in its true format – a vinyl on a record player – and let the music wash over you. It is a transformative experience and one that more artists should take note of. In a hard and unsure time; people are looking for the sort of comfort and protection Grace provides. I am not surprised so many young musicians are connecting with Grace and confessing their love for it. As we embrace new sounds and genres; we look ahead to the best albums to come…there is one record that never loses its relevance, quality and…

INCREDIBLE desire.

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FEATURE: In the Nineties with the Chance of Rain: Metacritic’s Highest-Rated Albums Ever: The Playlist

FEATURE:

 

In the Nineties with the Chance of Rain

ALL PHOTOS: Unsplash

Metacritic’s Highest-Rated Albums Ever: The Playlist

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THIS is my final piece of 2017 and…

whether I enter the New Year drunk or being eaten by a raging Alsatian – I’d like to have some world-class music ringing in my ears! Most of will enter next year’s infantile hours sleepy, blurry-headed…and our memories severely impaired. Nominal aphasia, dry mouths and banging heads – all part of the celebration aftermath. I have been covering a lot of music and, as early as tomorrow, will look at an album that continues to inspire and compel new musicians – some twenty-three years after its release. We have had all the Christmas songs and, as we ring in the New Year; everyone will have their bespoke soundtracks. I felt adding mine would be a bit obvious but, as we are marking the best music of the year…why not put a playlist together collecting music from the greatest albums of the past seventeen years?! I have been looking at Metacritic – some musicians/journalists consider it bias; others use it as gospel – and looked at the albums they have rated extremely highly (scoring ninety-percent or over) and compiled a selection of epic music to give your final moments of 2017 necessary kick, memorability and quality. Sit back and spin a banquet from some of the finest albums…

FROM the past couple of decades.

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FEATURE: Beauty in the Eye of the Beholder: The Best Cover Art of 2017

FEATURE:

 

Beauty in the Eye of the Beholder

PHOTO CREDIT: Unsplash

The Best Cover Art of 2017

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PERHAPS an album/E.P. cover is less important now than…

IN THIS PHOTO: Jane Weaver/PHOTO CREDIT: Getty Images

in past years. The digital nature of music means there is less of an emphasis on a sleeve and the look of a record. People are more interested in the music and forget about the effort and dedication it takes to get that perfect image. If you look back at the greatest album/E.P. covers from history; they have captured the imagination and struck the eye – either due to their simplicity or a vivid and intricate design. A lot of those classic covers have been about capturing something instant and pure; a shot that defines the music inside and differs from anything out there. I have been looking at the album and E.P. covers from the year and have assembled, what I think, are the finest and most alluring…

ALBUM COVERS: Getty Images

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Jay Som – Everybody Works

Release Date: 10th March

Label: Polyvinyl Record Co.

St. Vincent – Masseduction

Release Date: 13th October

Label: Loma Vista Recordings

Lorde - Melodrama

Release Date: 16th June

Label: Republic Records

Arca - Arca

Release Date: 7th April

Label: XL Recordings

Feist – Pleasure

Release Date: 28th April

Label: Interscope Records

Kehlani - SweetSexySavage

Release Date: 27th January

Label: Atlantic Records

Jane Weaver – Modern Kosmology

Release Date: 19th May

Label: Fire Records

Tyler, the Creator - Flower Boy

Release Date: 21st July

Label: Columbia Records

Girlpool – Powerplant

Release Date: 12th May

Label: Anti-

Halsey – Hopeless Fountain Kingdom

Release Date: 2nd June

Label: Astralwerks

Thundercat – Drunk

Release Date: 24th February

Label: Brainfeeder

Tove Lo – Blue Lips (Lady Wood Phase II)

Release Date: 17th November

Label: Universal Music LLC

Charli XCX - Number 1 Angel

Release Date: 10th March

Label: Atlantic Records UK

Mura Masa - Mura Masa

Release Date: 14th July

Label: Polydor, Interscope, Downtown and Anchor Point Records

Father John Misty - Pure Comedy

Release Date: 7th April

Label: Sub Pop

Kelela – Take Me Apart

Release Date: 6th October

Label: Warp Records Limited

Baek A Yeon – Bittersweet (E.P.)

Release Date: 29th May

Label: JYP Entertainment

Arms and Sleepers – Life Is Everywhere

Release Date: 27th January

Label: Arms and Sleepers

SZA - Ctrl

Release Date: 9th June

Label: Top Dawg Entertainment

FEATURE: Saratoga with a Slice of Lime: Why the American Music Press Is Ahead of the British Best

FEATURE:

 

Saratoga with a Slice of Lime

ALL PHOTOS (unless credited otherwise): Unsplash

Why the American Music Press Is Ahead of the British Best

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MANY might find my headline proclamation…

tantamount to a lack of patriotism and faith! There are many familiarities between America and the United Kingdom, We both have unpopular, ludicrous leaders (the U.S. are ahead of us) and both have incredible music scenes (I would give that win to us). In a modern-day, media American Revolutionary War; the Americans win the new-age Saratoga and Yorktown. It is not biased suggesting we have a better and more rounded music scene. I know America is larger and has broader geography than we do here. You can go from the Southern states like Arizona and Nevada and see no comparison to that of Tennessee or New Mexico. New York is a world away from California whilst Oregon and New Jersey have their own thing going on. Maybe the fact there are more musicians in the U.S. (compared to here) means there are more music outlets; greater mobilisation and better, finer-funded journalistic attack. I often search for ‘the best bands in…’ when looking at state-specific artists. The local media, except for New York and California, is not that active when highlighting their best acts to watch. Maybe Nashville and Austin (Texas) are exceptions. Here, we have the same issue: I wonder why there are few local sources scouring the floors for artists to watch. The national press is a different matter?

I will concede America is a lot stronger regarding other elements of the entertainment industry. I watched a new drama, Feud, for the FX network that tells about the rivalry bittern Joan Crawford and Bette Davis. The series was well-received and has been renewed for a second season – where the subject switches to the relationship between Princess Diana and Prince Charles. I watch ambitious and sharp U.S. drama and realise how far ahead of us they are. Look at the range of fantastic dramas on Netflix, FX and Amazon Prime and you can see how advances and ahead of us they are – despite the fact they have more money. I do not believe finance and greater resources is the reason the Americans leads us: finer talent and better writers, with great imagination, are part of the equation. That is the same case regarding sitcoms: the penmanship is finer, wittier and the series are, largely, much funnier. You can debate the odd show here and there but, when comparing scenes; the U.S. market is a lot stronger. Music is a much more evenly-balanced and competitive. The Americans have a better and dominant Hip-Hop/Rap scene. We have nobody who can rival the potency and genius of Kendrick Lamar, for example. Our Pop market is richer and we are pretty toe-to-toe regarding Punk, Rock and Indie. Look at the Folk market and we take an edge; the U.S. has better Country acts; maybe the U.S. leads the Jazz market – we regain advantage when looking at Electronic acts.

IN THIS PHOTO: The logo for Pigeons & Planes/PHOTO CREDIT: Getty Images/Pigeons & Planes

In spite of our shinier, tauter muscles; there seems to be a disparity that is quite alarming. I look at the list of best-rated music blogs and the Americans lead the pack. From Pitchfork and Consequence of Sound; BrooklynVegan and Aquarium Drunkard; The 405 and AllMusic; Pigeons & Planes to Metal Injection – all based in the U.S. Drowned in Sound, The Line of Best Fit and Louder Than War are situated here. Manchester’s Louder Than War – based on The Smiths’ Louder Than Bombs compilation – is one of the go-to sites for all the coolest and most current music news.  I am a big fan of Drowned in Sound and what they produce. We have Too Many Blogs and other great blogs but, if you look down the list of the finest and highest-rated you find the majority are American. We might, in a list of fifty, not lose out by much but the top-ten/twenty is U.S.-heavy. Considering we here have a deeper and more vibrant music scene (in my view); I wonder why we are losing the war. There are more people in the U.S., for sure, so it is inevitable there would be a wider media scene. Quantity and coverage do not mean a stronger and better-quality market. Our best music blogs match the quality and importance of magazines like MOJO, NME and Q. We have a wonderful wave of underground/independent blogs (not including myself!) but the spotlighted, professional sites are not quite as striking and impressive as the U.S.

PHOTO CREDIT: Getty Images

If the Americans have us beat for drama and comedy writers: does that mean their music journalists are finer? I would say, historically, we have produced the most intelligent and passionate music commentators. Now, if you look at the music media, there is a less-visible and important scene. Gone are the heady days of NME – when every band lusted after coverage – and the writers who helped define and document our brilliant artists. Although we have passed the epic days of the 1990s; that does not mean a weakened music scene should affect the music press. A few years ago the BBC Radio 4 series, Yesterday’s Papers: The End of the Music Press, examined the downshift in media outlets and how writing has moved from traditional print to the Internet. It is a shame to see the cessation of weekly magazines – a few exist but fewer than years ago – and the digitisation of the music press. One of the problems we have here is a lack of governmental backing. We have a lot of talented writers – on the same level as America’s best – but there is less money set aside to find the media. Although recent reports suggested certain U.S. newspapers are laying off editors and copyrighters. There is structural weakening occurring and the need to minimise and centralise publications. Many sources are streamlining their workforce and trying to save money.

That said; there is still more money available in the U.S. and better financing to ensure the best music blogs/paper are subsidised and survive. I know most of our blogs have to rely on unpaid contributors and a shallower wallet. Many are closing because of the expense needed to produce great work. One needs to go to gigs and interview artists; publish pieces and, in order to compete; be as ambitious and prolific as possible. Free contributors are fine but there are still the issues around expenses and subsidisation. There is such a tight budget for our best writers and sites to expand and thrive. Maybe, then, finance is the big difference. A lot of other factors play in. The closure of music venues and changing genre-tastes – Pop starting to rise; Rock less prevalent and important; new music taking a bigger role than mainstream – means the lesser-seen, smaller blogs (who investigate new music) are busier and, in my view, more promising. The finest we have here are wonderful but there is something special about the U.S. I can trace a lot of the weakness to the way the government ignores the music scene. Venues are closing and the charts are not an accurate representation of our music culture; the printed press is dwindling and there is not the kind of explosion and genius we had years/decades ago. All of these factors combine and it means it much harder appealing to the masses; producing the same sort of work that made British music journalism the byword for quality years back.

The U.S. has its own problems but there are more paid writers and bigger numbers. If they can afford to hire writers and have bigger kitties for gigs and pieces – that means the journalism will be better and appeal to more people. More money can be spent on promotion and it seems there are differences between the way the music media is perceived and treated in both nations. I cannot abide by the assumption American writers are better than ours. The music scenes are even but with exciting young artists like SZA, Princess Nokia and Brockhampton producing terrific music – it is a ripe and rewarding time being a music journalist in the U.S. We have amazing hot artists coming out but I feel U.S. music, at the moment, is more adventurous and colourful. If the quality levels are even; there is a more eclectic scene. If you look at an average day at Pitchfork and Drowned in Sound you cannot really say the Americans are sharper, more detailed and innovative than our best. A lot of these polls are based on numbers and, when you have a bigger national population; the more people will visit music websites. America has government problems and faces the same trials as we do but I think our media and music scene is at greater risk than the U.S. Structural damage and shaky survival rates for venues is worrying; the way the mainstream is set up and the lack of affirmative, mass-inspiring bands compelling writers. Maybe, though, there is a general issue with music journalism as a whole.

IMAGE CREDIT: Getty Images

Is the lack of money and digitisation affecting people’s dedication and concentration? The invention of apps. mean people can get their music news on the go; there is more competition and albums are released in different ways – less time for promotion and people refuting the media’s opinion and relying more on streaming services for musical guidance. I still think these issues exist more in the U.K. It is hard explaining why the U.S. are so far ahead of us regarding popularity and press dominance. I shall conclude by bringing in a piece by a U.S. journalist published on hypebot earlier in the year:

“Back in the day, music press got the word out about music before the music itself could get there. You could read about a record, but hearing it required hard work, happenstance or money you didn’t have. It could take yearsbetween seeing the name of some potentially-interesting band or song and actually hearing them. These days, of course, your chosen obscurity is likely just a YouTube search away.

With the rise of blogs, opinion is as readily available as the music itself. Approximately nobody is going to pay money for this stuff. Only the biggest blogs and sites can sell the ads they need to, and even they’re having serious problems. The New Musical Express is now an entertainment guide given away outside tube stations. The problem for professional music critics and press is competition from literally the whole world, the same problem artists have.

This is a special case of the problem with journalism in general: the money dried up with the exclusivity. About the only press that’s done at all well are the technology sites, who ripped down those tedious walls between editorial and advertising and gave up any reluctance to live off payola around the turn of the millennium, turning into utter and unapologetic shills. (Though it’s not clear those walls were ever up in music journalism.)

Even in the ’80s and ’90s, the pay was bloody dismal — I quit X-Press twice because of their widely-attested habit of asking for stuff then not running it, thus not paying you — and the main attraction was that it beat working for a living; but even that beer money level is now largely gone. Though I enjoyed it — even the tedious bits were pretty fun — I’m a computer system administrator primarily because there’s no money in writing about music. This Baffler story is me after I moved from near-unemployable nonprofit lifer to overpaid geek. I eat way better now”.

The lack of paid roles; dominance of the middle-classes in mainstream media; the lack of motivation new writers have to work for nothing; the fact people are finding out about albums before they come out – and less reliant on the written word – are all damaging and important. I have concerns about the music press in general and whether journalism is a profitable and desirable path. The only way we can make it attractive is by building our blogs/publications and considering how they are run/staffed. The U.S. music press is in trouble but I feel we face graver issues – fewer stunning writers and less money available for great and original content. With such a brilliant and growing music scene, our best and brightest talent…

DESERVES better than that!

FEATURE: Trêve de Noël: Supersonic, Reunion Rumours and Why Oasis Continue to Compel

FEATURE:

Trêve de Noël

PHOTO CREDIT: Jill Furmanovsky 

Supersonic, Reunion Rumours and Why Oasis Continue to Compel

________

IT would be impossible to end the year…

IMAGE CREDIT: Getty Images

without talking about Oasis! Those reading might think that quite odd: the lads have not produced music in years and irrevocably split – the two Gallagher brothers engage in spats, conflict and exchanged jabs. One expects that kind of spirit and spit from two men who, even when Oasis were together, did not always gel that well. I have been watching the Oasis documentary, Supersonic, quite a lot. Initial reviews of the documentary, last year, highlighted the great times and the glorious music. Many noted the battles and wars were overlooked. Publications like The Guardian pointed out it was overtly positive and did not tell the whole truth. That is a misleading assumption because, when you watch, the members allude to bad times. There was the moment Liam kicked off on a ferry and got stuck into a mass melee. Liam loved the spirit and physicality whereas Noel was a bit more pragmatic. He condemned that behaviour and, unsurprisingly, Oasis were in the press for the wrong reason. Part of the legacy and reputation stemmed from the no-holds-barred, unedited comments from the Gallaghers. They were keen to proclaim Oasis the best band in the world; mouthing-off and slagging the competition. They have that northern wit and honesty but, because of their mother, Irish humour and candidness.

That combination of D.N.A. and confidence meant they were always a controversial and divisive band with critics – the documentary looked at all the headlines, fall-outs and tension. One could not produce a documentary to celebrate a band’s music and make it too negative. We have all heard about the fights and problems with their father – the Gallaghers pointing out how he was abusive and ostracised from the family – and how their mother raised them on her own. Liam and Noel were interviewed separately but every member of the band came to the same conclusion: despite the lows and tabloid obsession were some fantastic moments. The sell-out Knebworth gigs were among the defining moments of the 1990s. The build-up and hype surrounding the gigs was Oasis at their peak. It was a surprise to see so many people flock to see Oasis take to that stage. Over two-and-a-half million applied for tickets; V.I.P.s were given their own Oasis-branded binoculars; over seven-thousand were on the guestlist; only two arrests were made during those gigs  - and Noel is a bit spotty when it comes to the gigs. Whether that was the result of some epic post-gig caning or the fact it was years ago – when he spoke to Kirsty Young on Desert Island Discs (in 2015); she asked him about those times.

IMAGE CREDIT: @liamgallagher

Noel knew he was there – as there is empirical proof to back it – but the rest is a bit of a blur (a bit of Britpop humour there!). Most of us huddle around the Christmas fire to watch It’s a Wonderful Life or a Disney flick – maybe another watch of Mary Poppins! They are the classics and staples of the yearly routine. The fact Supersonic has been gaining press speaks volumes. Many preferred the Oasis documentary over the usual selection of Christmas-themed films. I was among them and, following a Twitter truce between the brothers; there is renewed interest in the band. Liam took to Twitter to wish 'team NG' (Noel Gallagher) good luck in 2018. Although it was not the two of them hugging and downing pints together; it was a thawing of tensions that bubbled and heated during 2017. The usual to-and-fro continued – each brother poking at the other – and, considering they both released albums (Liam’s solo debut, As You Were; Noel’s Who Built the Moon? gained huge acclaim) there was a perfect platform to lob a grenade in the enemy camp. The reason I have that French title (up at the top) is the Gallagher ‘truce’ reminds me of the infamous/rumoured coming-together during World War I. Troops, once opposed and balkanised, disposed with their guns and climbed out to play a cold, Christmas game of football. How much of the rumoured comradery and conviviality was factual – one suspects there was chilliness still – could not disguise the huge step each side made (both probably advanced more in that game than each side did in the War to that point).

PHOTO CREDIT: Getty Images

Whilst Noel and Liam’s pleasant social media exchange was not on the same level as that truce; it did seem to have a whiff of détente and brotherly compromise. That, of course, sparked the rumour-mill and put fans into a frenzy. The fact Liam made that step could have been the result of Christmas bonhomie – the tweet was sent on 19th December – but one feels there is a desire to get the band together. I have heard interviews where Liam regrets the way things ended. He felt they could have gone on but, remembering Supersonic; Noel felt they could have ended after the Knebworth gigs – going out on top and not letting the band drag on and become stale. Be Here Now came out a year after the gigs and, whilst not the best album from the band; it signalled there was life and energy left in the bones. That cocaine-soundtracking album was the most swaggered and bolshy of the band’s career – following from the more cannabis-scented, all-for-one anthems of their first two albums. I remember 1997 and the speculation surrounding Be Here Now. It was one of the last times in music where there was genuine excitement and memorability. People do not queue up for music anymore and spent hours waiting to get a record!

IN THIS PHOTO: The cover for Oasis' third album, Be Here Now/PHOTO CREDIT: Getty Images

The 1990s saw a gradual shift from physical music to digital – although the Internet did not start to dominate until the latter stages of the past decade. It is disappointing seeing a lack of that physical lust and the need to grasp an album in your hand. One can argue that is a natural development of the digital age but, in truth, there are no bands like Oasis around. I feel there is a huge interest in the band now goes beyond Twitter buzz and the repeat of Supersonic. The documentary reminded us of those great times and why the lads are so revered. The music was incredible (the playlist at the end of the feature collates their top songs) and they were incredible live performers. It is the personalities and approach to life that resonates. You only need to hear the Gallaghers talk about their respective albums to know their wit, honesty and boldness is still present and correct. The guys do not need to be together to get into the papers. Noel has that natural charm and humour whilst Liam is still the same rebel and leader of the working-classes he has always been. Neither has dampened and distilled in line with the passages of time. Maybe their songwriting has gone in different directions but neither artist has sold-out and changed who they are. There is the fire and ability there but you wonder whether Oasis, if Bonehead and Paul McGuigan came back – maybe Andy Bell and Gem Archer – they would pick up where they left off.

PHOTO CREDIT: Getty Images

The final album, Dig Out Your Soul (2008) was one of their better late-career efforts but not up to the standard of their first two records. Definitely Maybe (1994) and (What’s the Story) Morning Glory? (1995) are considered two of the greatest albums of the 1990s and classics. The band would not return to that template because they are not in the same position. The brothers are famous and have different ambitions; they have matured their sound and would probably produce something similar to their solo material. We can argue about possible album-sounding directions Oasis 2.0 could take but that belies the main point: the need for a band like them to salvage music and inspire the people. There are no working-class heroes at the forefront of music. Oasis led a 1990s vanguard that included Pulp and Blur. Perhaps those bands were edging towards middle-class but, alongside the 1980s legends like Stone Roses – there was that spirit of the proletariat gaining control. Rebellions and upheavals have, historically, been led by those underfoot, under-heard sectors of society who are ignored by the government. Back in the 1990s, before Labour came in, there was the feeling Britain was drifting and disconnected. Oasis’ glory and music spoke about modern life in a way that was fresh and honest. It was not manufactured or directed to impress the big labels: the lads produced music that came from the heart and was born on the streets.

The sort of modern equivalent is Grime and Hip-Hop. Modern Rock idols, aside from the best newcomers, either lack the common sense to talk about Britain as it is or are from privileged backgrounds. Labour are staking the middle-ground out and are seen as leaders-in-waiting. Jeremy Corbyn has helped mobilise and vocalise the working-classes but the musicians who are charged with documenting social commentary are letting the side down. The Tory government have made a mockery of the nation and the democratic process has not resulted in positive change and development. The majority want out of Europe and elect a leader who is posh, painfully out-of-touch and powerless. If the misguided masses are unaware of what’s best for Britain; it seems there are music lovers who know the likes of Oasis are a necessary tonic and counterattack. An Oasis reformation cannot cure the lack of working-class faces in the mainstream but it would compel others to take action and change media perspective. Even if Noel and Liam are wealthier than they were in the early-1990s; they have not changed who they are and what they believe. Oasis would produce their eighth album that, one hopes, would have the same ideals as Definitely Maybe but mix in different sounds and ideas – get Liam charged in the booth and have Noel craft some new licks and massive choruses! Modern bands are critically endangered and there is a musical global warming. The pollution from the vague Popstars and the generic Alternative bands has warmed waters once teeming with life and innovation. Oasis’ departure from music left a vacuum that has not been adequately filled.

The music of Oasis is timeless because of the quality songwriting and incredible performances. It is not a nostalgia trip holding dear the treasured times of the Manchester band. The songs have relevance today and, with the need for a new Labour charge – the same as when Tony Blair came to office in 1997 –, there are parallels between now and when Oasis ruled the land. If the street poets of Rap and Hip-Hop are keeping the beat and realities of the street firm and uncompromising; there are no popular bands who are prepared (or in any position) to talk about the Britain we live in. I am not suggesting we expect a happy reunion an instant return to the 1994/1995 heyday – that would be impossible for many reasons – but there is an appetite for new Oasis record. Liam is up for it but Noel less so. Maybe it will never happen but the Christmas olive branch was a big step towards reformation and cordiality. The Gallagher war has been raging since the late-2000s and one cannot go from a mutual dislike to a close-knit bond. The thing is; the brothers always had that rivalry and difference – it exacerbated when the band got famous and various influences (human and substance-wise) impacted the lifespan. If they learnt from those times and cleaned the slate. Maybe I am a dreamer but, to quote John Lennon, I’m not the only one. The sensible and rationale majority have their voices ignored when it comes to the vote; they want to remain tied to Europe and see a government who protects our best interests come in. That might not happen for a bit but music can take a stand and lead a revolt. If Oasis did reform; we would not want the guys to change and fake a persona. Do not adapt, dilute or bargain – we all want you to be exactly…

PHOTO CREDIT: Getty Images

AS you were.

TRACK REVIEW: Control of the Going: Love You More

TRACK REVIEW:

 

Control of the Going

 Love You More

9.3/10

Love You More is available via:

https://open.spotify.com/album/5px18PDv2WCbWFuDcW5b0v

GENRES:

Alternative-Rock; Psychadelia

ORIGIN:

Manchester, U.K.

RELEASE DATE:

8th December, 2017

The album, I Love You But It’s Going to Rain, is available from 23rd February, 2018

LABELS: 

Sister9; Cargo Records

_________

THIS is my final review of the year…

so it is a good opportunity to mention a band I think will do some great things in 2018. Control of the Going, with that odd name, intrigue me with their approach, music and make-up. I will talk about the guys’ new music soon but, right now, I wanted to look at bands and whether next year is going to be a more successful one (for them); Manchester and why focus should be placed there; mixing Rock and Psychedelic sounds together; interesting promotional ideas; the debut album and why it is such an important thing; why music needs to embrace those who have the passion and energy to succeed; getting music to the American market early on – and how that can make a big difference. I have been a bit reluctant to promote bands this year because the solo artists have been having such a good one. I am looking at what is out in the mainstream and not really blown away by anyone. I have been banging on about IDLES and Wolf Alice – but they have been going for a couple of years, at least. I have been approached by a lot of bands but it is the solo artists that have made the biggest dent. The solo artist has the freedom to express themselves how they wish and are more flexible with regards sound and mixtures. I feel bands are more rigid and have to adapt to a prescribed sound. Many are going for a Rock/Alternative sound that fits into the mainstream whilst others are mixing genres without much success. I am not saying all bands are worth ignoring but it is an easier life for solo acts/duos etc. I feel they can play Hip-Hop, Electro or Pop without having to compromise too much. With that being said; I have heard a lot of promise coming from various corners and hope there are some terrific bands shaping up to make 2018 a fantastic one!

Control of the Going are a group that have the promise and ammunition to make a dent and impression on the scene. There has been a call to promote good solo music and ensure genres like Hip-Hop and Rap are giving more exposure. Pop has been transforming and a lot of the heat has been put on the commercial artists. This means new bands have not really had much of a say and we have seen little to suggest mainstream bands can challenge the established order. Efforts from Foo Fighters, Arcade Fire and U2 have been quite disappointing; records from Queens of the Stone Age and The xx have fared better. The majority of the most-celebrated albums of this year have been from sole artists. Everyone from St. Vincent and Lorde through to Thundercat and Sampha have produced stunning work. Maybe it is the lack of inspiration from bands or the changing demands of the public. The only way the new breed of bands are going to get fired up and compel is if they have guidance and support from the mainstream. Control of the Going have been looking around and sourcing from the coolest, most credible and pioneering bands around. They take from the past but, above all, have stepped away from the predictable path and created a song that is all their own. I think too many bands are replicating what is already out there – that is leaving people cold and meaning solo artists get a bigger say. The Manchester-based band has taken the trouble to sprinkle original elements into the mix and have been playing a lot of gigs. All of this honing and performance means their material is solid, tight and deep. I feel they can get to the mainstream and, whilst it might take a couple more years; they are going to inspire others are settle very well there.

It is hardly a surprise I am excited to see a Manchester band come through. I have written pieces about the city before and have been keen to explore the acts from there. Everyone from False Advertising to Pale Waves are adding their own magic and angles to the rich Manchester scene. I feel London has been getting a big say and we have centralised and localised the music industry. What annoys me is the assumption that, because most of the big labels and radio stations are down here; that means all the best artists should be. It is not the olden days anymore: radio stations can broadcast further than a few miles and we have communication tools that allow us to listen to artists from Manchester and other parts – that means influential stations in London can hear that music and play it. I have also talked about Glasgow and Leeds: other cities that are making incredible music and should gain more focus. Manchester has been inspiring and world-class since the 1980s. The legends like Joy Division and The Smiths; The Stone Roses and other 1980s local folk inspired the 1990s’ idols like Oasis and The Chemical Brothers – you might even lump Take That in with that category (although they are not ultra-cool!). Something wonderful was happening around that time and it seemed like the working-class innovators were reflecting greater desires in society: people were yearning for truth and prophecy that was not being provided by the government. Now; Manchester’s tones have changed but the quality has not dipped too much. The city deserves acclaim and coverage because it is among the most eclectic and quality-focused parts of the country. I have grown a little weary of London’s sounds so have been pining towards Manchester.

Control of the Going are part of the new movement and show what can be created when you buck trends and do not rely on the capital for motivation. That might be counter-logical and a way of delaying success: I feel they are going to get to the big-leagues quicker because they are taking a more impressive and uncharted route. Maybe 2018 will not be The Year of Manchester but I am confident the shift will start to shift from London to the North. Later today; I am going to write a piece about Oasis and why many are desperate for the Gallagher brothers to unite and get the band going again. It is not a case of a nostalgia hangover and yearning for better days. I feel there is a chasm in music that is not being filled - let's hope that is remedied very soon. Alternative/Rock music is out there but there are not many fresh and addicting young bands coming out. Manchester, as mentioned, has some quality bands who can fit the bill – PINS and False Advertising two of the better-known and acclaimed. Maybe their sound is a reaction to that Oasis need but, in the case of Control of the Going; they are able to summon some of the epic grandeur of Oasis but no copy what they have done. The sextet project immense power and swagger but they blend that with subtler, colourful strands. I feel too many bands race in with gnarly sounds in the hope excessive adrenaline and shout means people will take notice. A more intelligent and refined sound comes from Control of the Going. Maybe it is a rebellion against the worst instinct of mainstream bands – I feel it is the ethos and philosophy of the Manchester scene. Artists here are more engaging and reflect the personality and candour of the people. If London-made music is defined by cosmopolitanism and urgency: Manchester is about warmth, intelligence and risk-taking. That is why I feel Manchester is going to take more of the media next year – we know how warm and inviting the city is; we want a bit of that in our musicians.

Perhaps that is a vague and odd assumption but I am confident Manchester will do well in the battle to gain the mainstream media’s ear. I have been reluctant to focus on Rock and Alternative sounds this year because of the relatively damp offerings from the mainstream. Aside from The War on Drugs, Wolf Alice; Phoebe Bridgers and their ilk – there have been few standout Alternative albums from the year. You can quibble with terminology and genres all you like. Maybe there have been some impressive Rock/Alternative albums but there have been far fewer than one would expect. Consider the quality coming from Hip-Hop, R&B and Soul and you have to ask questions. From Mercury-nominated artists like Sampha and Loyle Carner; U.S. treasure from Kendrick Lamar and SZA – one has to wonder whether music’s shifts and demands have given up on Rock. That might sound depressing for Control of the Going but it is actually a positive. They are not an out-and-out Rock band but they are, in essence, they inject passion and older-times glory into their work. I listen to their work and see a blend of innovative new and classic Rock. One gets a hit of the 1990s-Manchester with the innovation of the modern scene. It is a complex and difficult time for Alternative/Rock sounds. There are few guiding lights and other genes are taking the majority vote. The reason I am excited by the likes of Control of the Going is the lack of commercial lure they have. They are not compromising and taking an easy route. A lot of Rock bands think replicating the best of the mainstream is the way through; they have the guts and patience to listen to the local scene and put their ears to the ground – detect what the city demands and what is happening around them.

Maybe it is a risk ignoring what is happening in the charts and taking a longer route to the mainstream. Control of the Going want to succeed and build their own reputation and have a wide range of influences. I feel the plain and direct brand of Rock – Foo Fighters and Royal Blood – has been done to death and lacks necessary innovation and variation. The more successful Rock/Alternative artists of the year – Wolf Alice included – blend other genres in and are making music for the smaller crowds and finer venues. Royal Blood and Foo Fighters (other bands included) are too focused on stadiums and making something city-sized and charmless. Those who speak to the common man/woman; get under the skin and think about nuance – they are going to do better in the long run. I am hopeful there will be a Rock revival but I do not think the current ‘best’ will be responsible for that. It is the new breed of hopefuls that will spearhead a rebellion and movement. London will be a part of that but, given the strength and community happening in Manchester; I am more hopeful the North will be at the forefront. One can look at Sheffield, Leeds and Glasgow and realise those who reside in largely working-class areas are attuned to the foundations and mandate of true Rock – sounds that have a blue-collar heart and a compassionate mind. The development and new success of Control of the Going mean they are definitely doing something right. Most of their acclaim is local at the moment: national success will arrive when their upcoming album is released to the public. That comes in February and it will be interesting seeing how it is received. I am looking at their single and can hear the passion and quality in the music. The guys have hit a rich vein and look set to make a name for themselves next year.

The debut album is an important and difficult one in a lot of ways. You have little idea what critics want and whether the public will react. Control of the Going have performed a lot and showcased their material to the public. They gauge a reaction and see which songs get big love and what they want to hear. It is a different case when you push that music out to a wider audience. It is hard appealing to everyone and getting it ‘right’ the first time out is a real enigma. You have to go with instincts and have faith in the material you are making, Whilst it is important to have an original bent – and not copy the mainstream acts you like – you have to take a little bit from the popular sounds of the moment. Getting that balance right is tricky but one a few acts have achieved. I know Control of the Going will continue to rise and appeal. Their music has a universal vibe and can stick in the hearts of the majority. That taken into mind; I hear a lot of new strands that are unique to them. The boys bring in Psychedelia and the kind of experimental edges one will recognise from some of the most pioneering acts from Manchester – the likes of Stone Roses among them. Whilst the kind of trip and colour the Control’ boys are brewing is not quite the same as Ian Brown’s crew; they have a potent and exciting palette that differs from traditional, boring Rock. All of these components and considerations mean the band are primed to impress with their first L.P. They have worked hard on it and know the challenges before them. They are not racing ahead and assuming they will be stadium kings in a couple of months. They have put in the hard graft and will continue to plug and pervade through next year.

I Love You But It’s Going to Rain is going to be one of the most anticipated albums from a new act in 2018. I know it will succeed because the guys have been gigging and working for a long time. They have been monitoring how crowds respond to their music and adapting it to get the biggest reaction possible. Their patented blend of Rock, Alternative and Psychedelic sounds stirs together and elicits a heady smoke. You listen to the sounds and get a mixture of familiar and unexpected. The guys know how to hook the listener in – expect their debut L.P. to get some positive and impassioned reviews! I will talk about where the guys can head next year but, right now, they have been going about things the right way. There have been local gigs and a lot of support from Manchester. They played Gorilla – their biggest-ever show – to four-hundred people and got the chance to play their material to an enthralled crowd. The boys have played gigs in the Northern Quarter and go public support from Clint Boon. The band hosted three nights to preview the album at PS; there were seven screenings where fans eagerly packed in to hear the new album come to life. Also; Torrside Brewery – a local brewery – developed a bespoke beer called …It’s Going to Rain. All of these ideas and events have helped promote the band and got their music out to the people. Getting local reputation and hype is essential for any new act. I have seen few with the same drive and innovation as Control of the Going. It is clear they are a popular and extraordinary live act; companies want to lend their support; radio stations and journalists are behind them – all bodes well for a bumper year ahead.

The guys have a rare and endless energy and sense of motivation. They are always looking to build their work and make it as strong as they possibly can. Not only have they captivated the local fans: their music has been played on American radio. KEXP has spun their music and paid tribute to an album that has the promise to own the year ahead. I know I keep making predictions about 2018 but it is exciting seeing artists emerge who can change music as we know it. The guys of Control’ are going to take the initiative and ensure they keep the pace up. Getting that American respect this early on is vital. They already have a market over there and means, as it turns out, they get U.S. dates. The boys will promote the new album over there in February and bring their local accent and popular sounds to the American faces. I will speculate how far they can go (in the conclusion) but getting an American ear this soon means they are in a better position than most of their peers. I think the guys can build on this and spread their music right across the U.S. One wonders how long it will take before they are worldwide names – able to command acclaim right around the world. That might be a few months off - but it is clear I Love You But It’s Going to Rain is a stunning work that connects with the people. It will be exciting seeing how they go down in the U.S.A. I know radio stations there are reacting but taking their sound to the live circuit there will be a different matter. There is a different pace and geography compared to the American market. The boys are used to the Manchester flavour but, getting experience playing in a nation like the U.S. means they can take those skills back home and strengthen their gigs – that will lead to bigger, bolder material.

Snarling, ‘ave it large strings open the song and project images of debut-era Oasis. That is not a lazy comparison but a piece of praise. The guys summon the same quality and instant intrigue but do things their own way. You get a rousing and boozed coda that has control and focus but a sense of adventure and mischief. The song kicks out of the gates but never gets too heated and rambunctious. The skill and composure of the band mean you have time to bond with the introduction and build up the imagination. I was thinking of various scenes and possibilities. The lengthy opening means images will flood and the listener conspires right from the start. The song is one of dedication and fond passion. You imagine the hero with the girl and having that sense of comfort and safety. Given the fact their album title seems to suggest contrast and changing fortunes; I go into the song assuming there is fracture and imminent shift. That might be premature but one gets a sense of hazard and caution in the vocals. The song impresses with its blend of haziness and strength. The band is very tight and together but there is room for experimentation. One of the only problems with the song is a lack of vocal clarity. The composition is too high up the mix and the vocal a bit too low. A lot of the words are either muffled or drowned by the instruments. Whilst some words are detectable and clear: there are quite a few that pass by because of the way the song is projected/mix. That is not a big drawback because one can extrapolate the mood and direction of the song. You are gripped by the composed and calm vocals – yet, the impression one gets is a man who has some troubles brewing in his heart.

You get a sense that, although there is love and connection between the sweethearts; the girl should not believe him all the time. Maybe there are harsh words or false promises; some regretful times and occasions where the mind and heart have not been connected. The swagger continues and you are gripped by the cool-as-crap lust and Psychedelic underpinnings. Past the half-way mark; there is a chance for the instruments to stand out. The guys combine and project a vivid and physical phase that carries on the song’s messages but creates new wonder. The hero proclaims his love and (will love her more) than she’ll ever believe. That loyalty and belief is strong and should not be taken for granted. The middle section is a chance to clear the head and consider what is happening. The tinge of caution and reserve makes me thinking there is deep thought and pondering. The vibrancy and affection leads the mind in the direction of the sexual and sensual. It is a curious contrast and blend that gets the mind working in different ways. It seems the girl has been wary and not believing the hero – the lyrics become clearer as the chorus takes dominance and place. It is nice to see that audible focus and clarity in the latter stages. That mantra – disbelief and a one-sided love – makes me wonder whether if the bond is near an end or the hero’s dedication is being tested. Whatever the roots and origins; one gets inside the song and makes themselves a spectator. It is fascinating to watch things unfold and mutate; the way the song twists and emanates new possibility and avenues. By the final seconds; you have to take it all in and wonder how things turned out. I feel the relationship will survive and continue but there are definite obstacles and differences. The girl might lack real conviction but the hero is determined to change her thoughts and keep things in the black. Love You More is a fantastic offering from a band that will accrue more fans when their album arrives in February – expect 2018 to be a very special and exciting one for the Manchester band!

Make sure, in February, you get I Love You But It’s Going to Rain. It is an L.P. that has already garnered positivity and praise. I am sure that will expand and explode when the record is unleashed. Love You More is a tantalising glimpse of what to expect. The song demonstrates what flexibility range and quality the band already have. One hears them and gets a great blend of live-sounding freedom and the studious discipline one learns in the studio. The material gets straight into the head and gets the heart racing; the body activates and the blood surges. Those reactions are not what you get from all albums out there. The six-piece have been working long and hard to create an album that speaks to the masses. That is what has been missing from music this year. I have not heard too many records that get under the collective skin and stays with you long after listening. I am hopeful the underground will show the mainstream how it is done as we head into a new calendar year. The Manchester band are preparing for a series of gigs to promote their debut album. They will head to the U.S. and have the opportunity to gain a foothold there. I am not sure what dates they have lined up but I can see them doing well on both coasts. The West Coast looks for that dreamy and colourful locker – music that fuses sunshine and granite into something complex but liberating. The East wants something with urgency and sounds that match the bustle and complexities of the street. Maybe that is a generalisation but one notices differences between the two coasts. I feel the boys could gain success anywhere they travel and have that open and malleable music that does not exclude and isolate. They end a fantastic year with a single and promise to suggest they will have a storming 2018. It is a song that bounces around the head for days and keeps the mind working and the voice singing. I know that will happen and they will rule and reign. Love You More is a stunning song that provides a sensual kiss: I Love You But It’s Going to Rain is an album that rips off the clothes, puts a limp in the step…

AND a smile on the face!

_______

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FEATURE: The S-Words: Sexuality, Sex and Social Media

FEATURE:

 

The S-Words

 ALL PHOTOS (unless credited otherwise): Unsplash

Sexuality, Sex and Social Media

________

TOMORROW provides me the chance to wrap up a few…

idea and pieces I have been meaning to get out. Aside from a review; I will look at album covers that have defined this year – negatively or positively – and why Oasis’ music/legacy is reigniting flames and excitement; some of the all-time great albums and why they remain so important; the ‘civil war’ of U.S. and U.K. music/journalism; I will cast the spotlight on a fantastic Australian duo – and conclude a busy and eventful year. It has been a good one (in terms of my work) but I am not taking any time off: Monday sees me look at a few new topics and keep the ball rolling. I will look at new ambitions and how I want to develop my site but, before then, I have hopes and fears regarding 2018. The reason I have highlighted sex, sexuality and social media – and provided quite a proactive image at the top – is the way sexuality and gender are still major sticking points in music. We have heard a lot of good news from music and there have been some terrific albums released. Glastonbury was a raging success and we saw some new artists come to the fore. All things considered; it has been a productive year of music with the best sounds showing how advancing, talented and original our best musicians are.

I expect that to continue in 2018 and am excited about the big albums and underground artists who will add their mark to the year. Away from pure music, we need to look at the imbalances and downsides that have been hidden to a degree. I have spoken a lot about sexism and the way female artists have been given fewer opportunities and platforms than their male counterparts. It may sound like my revisiting trodden ground but it seems like the best way to end 2017 – almost, at least. This is less a coruscating article: more a suggestion and guidance for the music industry as we head into the New Year. I marvelled at Glastonbury’s headliners but saw no female presence; I looked at other areas of the industry and, between festivals and award nominations, saw that male dominance. Whilst I grant you male musicians have been riding high in festivals for years; that is not an indication of dominant quality and commercial appeal – more a lazy and routine booking by the festival organisers. The need to break away from the boring and commercial should see fewer male artists given prominence; more female artists coming into the fold and being provided equality. Parity is what I am concerned about, really. I feel there has been a bubbling, unresolved sexism that has not really been challenged by male artists.

Journalists (male) have ignored the issue and, weirdly, it is seen as okay and normal having that gender imbalance. I have seen cases of female artists abused on stage; male performers demean and degrade female artists; others sexualised and exposed because of their looks – the impression female artists are weaker, inferior and objects still exist in some areas. Whilst not as toxic and widespread as it could be: I feel those in a position to change things have not been given the kick needed to go about it. That is the responsibility of journalists and male artists – I feel like I have done my part but the bigger names have not played their part and exposed the gaping wound of sexism in the industry. The rise of strong Pop artists and hot newcomers means next year will see talented female artists get a say and impress. I wonder whether there will be any changes so they are not held back from festival slots; their music is treated the same as the guys; they are not promoted because of their looks and bodies – given the chance to show what incredible artists they are...

Sexuality is another side of music that is provided scant coverage. Earlier this year; I talked about, in various pieces, how sexuality and sexual orientation are still seen as taboo. Mental-health is being discussed a lot more but I wonder whether the outpouring of professions and openness is strong enough for the industry to bend and care for artists overworked, unhappy and struggling. I know there are a lot of problems that need tackling and I do not want to talk an alphabetic approach – nearly every letter of the alphabet will be covered! I know a few gay artists and they are proud (rightly so) of their life and how they express themselves. There are Pride festivals in Brighton and London that celebrate difference and unity: how homosexuality should be expressed, celebrated and normalised. That may sound like an odd word to use but I feel gay artists are afraid to explore their sexuality in music; been afforded the same chances as straight musicians – fearing they’ll be seen as outsiders or a niche act. There are/have been many gay artists in popular music – from Elton John and George Michael to Lucy Spraggan. Bisexual artists like (Fifth Harmony’s) Lauren Jauregui and Halsey are proud of who they are and have opened up about their sexuality. There are more L.B.G.T.Q. artists than ever before – proving sexuality is a spectrum and complicated thing.

IN THIS PHOTO: Lauren Jauregui/PHOTO CREDIT: Getty Images

It is not a binary decision – being gay or straight – but I know there are many more artists out there unafraid to come out through fear of isolation and judgement. I agree we have become more accepting of sexuality – in the music industry at least – but there is still a lack of education and awareness among many. Homosexuality is something that should be emboldened and assimilated into the mainstream more readily; not seen as something unique and odd. I know of a few gay artists who feel, as they plan their sounds and aim for the mainstream, it is going to be hard expressing their sexuality and revealing it. Friends and colleagues know they are gay but is there still a stigma attached to coming out? Those popular artists who have revealed their sexuality (bisexual, homosexual or transgender) have been met, in the most part, with applause and respect. Hopefully, that will destigmatise the nature of sexuality and see those artists afraid and concerned feel brave enough to reveal their sexuality and be met with affection. The music industry has a problem and, even though there are more members of the musical L.B.G.T.Q. but the rainbow is being dampened by cloud and mist. I am not suggesting special dispensation and accommodation needs to be afforded gay/bisexual artists: they do not want to be treated any differently to anyone else!

Whilst gender and sexuality and high on my list of ‘things we need to tackle and treat with compassion in 2018’ I am concerned social media is losing control and focus. Maybe it has always been a place where one takes chances and is not necessarily safe. Former President Barrack Obama, when interviewed by Prince Harry, warned us of the dangers around social media. We are spending too much time on Facebook and Twitter and, with it, our physiological health is being affected. I have, again, spoken about social media and how promotion and music-releasing is less physical and more electronic. Modern artists NEED to spend a certain amount of time on the Internet: many are supplementing that with social-time and, when you look at it, hardly getting any rest and time for detachment. I have heard a few cases this year when online bullying and ill-advised comments have claimed lives. An adult film star, August Ames, hanged herself this month following abuse online – following accusations of homophobia. It was a shockwave and reminder about how hurtful comments and the effect social media has on us can have devastating consequences. I have heard of other suicides and, considering a couple of high-profile suicides in the industry (Chris Cornell and Chester Bennington); I feel musicians should be encouraged to spend less time online.

I realise promotion and popularity stem from a savvy social media plan and constant dedication. That does not mean one needs to spend every waking hour on social media. The more tired we get the worse our decision-making process is; we make mistakes and say things we regret; we are subject to harsh comments and, because we are tired, that means we are likely to make errors of judgement and feel alone. The more we immerse ourselves in the digital world, the more distant from the human connection we become. Many use social media as an alternative to a life where they feel misunderstood, unheard and unhappy – feeling people online will understand them and provide friendship (artificial at best). It is hard separating social media work-life (not too much time on there) and any personal downtime. Musicians are required to push their work and get it out to people. That involves social media and a lot of time sending emails. Not only is the endless work and exhaustion affecting their creativity and ambitions; it is fixating and obsessing the mind so there is little/no time in outside world. I am worried many musicians are open to the worst traits of social media – abuse, trolls and the way we cannot wean ourselves off it – and need to heed the kind of warning Barrack Obama has provided.

I know music will make changes and take responsibility in 2018. Those S-worded subjects are a few big things I hope will be afforded more exposure and investigation. I have seen improvements and small changes. Discussion and anger (positive and negative) have highlighted how female artists are still downplayed and seen as minorities; a lot of gay and bisexual artists lack the confidence to express who they are and discuss their sexuality through music. I have not spoken about race and other sides of music that have troubled me – maybe I will have to leave that for another day. This is not new ground – and I have spoken about all these things at various points – but, months down the line, seen few changes and little advancement. Maybe, when we look at how to improve musicians’ lives, we should take an alphabetic dynamic. Starting at ‘S’ might be a weird place to start but I am seeing too many artists lose out, suffer and go unnoticed. If those in a position of influence – the government, labels; executives and journalists – helped challenge sexism and sexuality; helped raise issues around social media and the pull the Internet is having on artists (and all of us) that will be a positive and…

NECESSARY difference.  

FEATURE: Terms and Conditions Apply: Is Consent and Copyright Laws Holding Back Creativity?

FEATURE:

 

Terms and Conditions Apply

 ALL PHOTOS (unless credited otherwise): Unsplash

Is Consent and Copyright Laws Holding Back Creativity?

________

HOW many of us sign up to a website…

or register with a company and blithely skip past the terms and conditions?! There is that box we need to tick to say we have read them: few of us open up a page and read everything that we are agreeing to. Most of it is harmless, boilerplate stuff - we are not agreeing to give away our lives and consent to inhuman experimentation. It is a perfect opportunity to exploit someone but I guess most of us are too busy and unconcerned by what is written in the contract. As I say; a lot of the websites have the same terms and most of it revolves around minor things that are not going to harm anyone. I wonder whether, among the codification and numeration are pillars, posts and points that are, in a subtle way, stripping liberties and revoking any degrees of privacy. How much of the information we share online is being used by companies (we sign up with) and are we exposing ourselves to a lot of hassle down the line? Unless we read every page of every site; we are never truly aware of the small print. One of the most challenging and irritating parts of being a music journalist is how often you have to carefully select information and photos you can use – through fear of copyright infringement and intellectual theft.

A piece I wrote last week – looking at the best music photos of all time – has to be scrapped and deleted because I got a fair few of the photos from a music website. I credited the photographer of each but, in one of their sub-menus was a terms and conditions option that prohibited the unauthorised sharing of their material. That was fair enough but I felt that link should have been visible and listed with the photos. I did not know to go check and assumed that, if I credit those whose work I am using, there would be no issue. Maybe that was naivety on my part but it seems like there are needless restrictions imparted. If you are using someone’s photos/information to make a valid point or do good then what is the use in imposing these limitations? Anyone could copy a photo and use it where they want – the downfall in my plan (was that) I tagged the website in questions when I shared the feature online. If I did not then they would not have known where to check; they would have been blind to the (unintentional) use. All I wanted to do was celebrate someone’s good work and was not misrepresenting the information and using it to voice controversial opinions and perpetrate libel. I can understand the need to protect privacy and restrict use: some journalists may use information/photos to help voice racist views or vile onions. In those cases; you do not want that person to have free license regarding your work. In this occasion, I did ask the website if I could use the photos but they declined – no real rationale or explanation.

If you are going to be urge people to ask for written permission before using images, and refuse them without explanation, then is anyone ever going to do that?! I have to read everyone website to make sure they are not going to sue me and force me to remove their work. A lot of the websites have privacy/copyright-related pages but it is not always clear whether you can use their data without permission or their words apply to bigger publications/sources. Sometimes; there is a blurred line between intellectual theft and appropriate representation. I would rather than a risk and use information/photos without consent – so long as I have read their conditions and feel I have committed no wrong – than have to email/write to everyone and wait to get permission. That might seem like an unwise move but, so long as one makes checks and makes an ‘honest mistake’ then you cannot fault that. I will come to look at the creative ramifications but there are similar obstacles when musicians want to use other people’s songs/sounds to sample. An artist can easily cover a musician’s song – they do not need to get permission but it is polite to ask – so can, in theory, mimic every note and vocal and use that version in a song. That would be a sound-alike sample but is not the original – it is all legal; albeit a time-consuming solution. What is the difference between a cover version where you can replicate a song note-for-note and getting the original? Artists are protective of their work and do not want to secede rights to have their material disseminated and used any way another artist sees fit.

PHOTO CREDIT: Getty Images

Rigidity and litigious barriers mean there are far fewer sample-laden albums like we saw in the 1980s – the likes of Paul’s Boutique and 3 Feet High and Rising (De La Soul). Those artists had a hard time putting the records together but I know it would be THAT much harder getting permission today – musicians are concerned about piracy, legalities and financial reward. If an artist used a song and that album garnered big cash for the musician – how much money is going to the artist who granted access?! Some argue these measures protect musicians and means songs do not lose their ethics and independence. I feel there are better ways to go about things. If an artist agreed to a percentage cut – granting a set amount of profit to the permission-giver – then what is the harm granting permission? That would solve issues around remuneration and, so long as they fully informed the musician how they were using their song(s); they would rest safe knowing it was not going to be mangled and mutated. Things are not that simple and it is a problem that feeds into journalism. I was annoyed to lose a piece that looked great on the page but it was not a fantastic loss. I could have survived a refusal if they explained their decision and felt I was going to misuse their photos. That is not the case (on either point) so that makes me feel everyone is going to provide short-shrift.

As I said before…there is ambiguity on a lot of sites so is the workaround making sure you phone/email everyone? The problem with that approach is waiting however long to get an answer. If they say ‘no’ then you have wasted your time: how long will it take to get an answer and any sort of legitimate reaction? Even if they do grant permission; how can you tell, from a causal observation viewpoint, whether that has happened? Are you going to put the email (with permission) on the page? The original source knows you have asked but nobody else does. A lot of great journalism stems from instant reaction and efficiency. If there is a hot issue that needs dissecting then you will want to get something online quickly. That might involve, as I do, research and cross-referencing other sources. I never replicate and rip-off an article or amend any journalist’s words. I always keep it faithful and contextualise my usage. It is never inappropriate and always used (the material) in a positive and substantive way. I can understand the need to preserve sensitive information of personal photographs. Ensuring they are not put into the ether is fine but most journalists are not looking to defraud and play games. I would be completely happy for someone to use my words and do not have any limitations on my website. That might leave me open to exploitation and legal issues but others can quote my reviews and features.

Artists ask if they can quote some of my reviews (about them) for promotional reasons. It is not a demand from me: they do it as a courtesy. I do not put anything official down and know anyone who comes my way is going to purely and faithfully use my words. I look at the tabloid world and see photos of celebrities plastered over their front pages. I am sure the featured figure did not give their consent to be pictured and have no say how their image is used – they do not get a say regarding the story attached to it, either. They are immune from privacy rights and are open to scandal, harassment and gaudy revelations. I know the music press is more respectable and noble but why does one side of the press get to break rules and violate confidentiality when another, much nicer and educated, have to struggle to acquire the same level of access?! In my case, I am never using too much of anyone else’s information. I would be honoured if I saw my words quoted (in the right context) by someone else. Obviously; you cannot monitor everything and know what happens with your work – some of my stuff might be out there in another place! – but I  am not one for squashing creative freedom and promoting debate. If every magazine and website made writers ask for permission and risk facing rejection every time they ask – how will journalism ever grow and evolve if we are too stringent and strict?!

I am happy enough to send an instant message/email to every site with my website and say why I want to use their words/images. Because I am a minnow; there is the endless reality they will refuse me because I am so small. The logic is, from my viewpoint, I am not likely to create duplicity and abuse their trust. I am a humble journalist who wants to aid my work and create some interesting pieces. It is music journalism so there is not really anything deeply personal and explicit I am using. Most of the words are opinions and quotes; studies and interviews – something anyone can read and use on social media. People can legally share that information on social media (if they know how) so why stop journalists from using the information in a factual and informative way? The issue is complex but I can see no real reason why sites are so protective and legal-minded. I have seen other websites use photos – that they do not have expressed permission to use – but do not report them. That would breach their own rights and is not my place. Getting permission seems like (that site) have access to monitor and control what I do. You can say the blind taking of information/photos means the author/creator has no control and is open to a world of problems.

If you want to ask every person to get permission for every bit of information you use; I feel there is a quicker way of doing things. Click on a photo/article and give them an option to put your website in a form; their name and email address. That will go to a moderator who will instantly review the request and give s response. It covers the bases and means journalists get a quick reply – and can engage in conversation if the website is reluctant. The way things are now mean many are fearful of rejection – meaning their creativity is limited and they are unable to progress music journalism. Debate, engagement and discussion is crucial in the modern age and part of that is sourcing other portals of information and sampling other people’s work. There is a bias and sense of subjectivity if I only use my own words: bringing in another side/journalist means I can back up my argument or bring in a counter-balance. I know the rules around intellectual theft are defined when it comes to music-sharing and sampling. There have been high-profile court cases regarding plagiarism (Led Zeppelin one of the more recent examples) and that was a costly and truncated court case. That example might have been an opportunistic lawsuit or mistaken assumption – does a journalist have to suffer the same fate if they use someone else’s material. There are definitional differences and practical exceptions but, when it comes to it, there are hoops journalists need to go through in order to use other people’s information/photos.

I understand the desire to protect your work and not have it misused but it should be a lot easier for journalists to get permission – and have a fair shake and not be instantly rejected. There are so many issues and subjects that are ripe for investigation and challenge. The music industry is facing change, accusations and struggles in various quarters. Documenting these (sides) and exploring avenues is a vital way of provoking conversation and, ultimately, change. I see so many websites produce pithy and vague articles because they have no competing arguments and sources they can quote from. There is this culture of over-protectiveness that is stifling examining, debate and quality journalism. With no sense of morals and legality in the tabloids and other parts of the industry: why should music journalists have to face challenge and boundaries? It is an argument where I can understand the other point but I am frustrated it is so difficult when it comes to quoting from others – and the amount of time one waits to get rejected for asking nicely! Next year will see music take on a bigger role and shifts occur; issues around sexism come to the fore and the desire for reasoned and productive debate. Journalists are charged with leading the movement and talking about things important and meaningful. I wonder if we can do that if there is compartmentalisation and endless terms and conditions imposed. Making allowances will not only lead to better journalism and a more open industry; easier channels of dialogue and permission-giving means more aspiring journalists will be bold and brave with their work. Music journalism is never going to advance and grow if there are needless restrictions. In the interest of parity and transparency…

YOU can quote me on that!

FEATURE: Blinded by Silence: Why Environmental Issues and Climate Change Is Everyone’s Responsibility

FEATURE:

 

Blinded by Silence

PHOTO CREDIT: Getty Images

Why Environmental Issues and Climate Change Is Everyone’s Responsibility

________

WE are still enjoying the leftovers of Christmas…

PHOTO CREDIT: Jonathan Gregson

and preparing to soak our livers in the fruitiest, most-lethal and intoxicating drinks we can get our mouths around! It is a rather peculiar time of year: I wonder why we celebrate New Year and whether people actually use it as an opportunity to make real changes and be a different person. People do not change: it is a fact that has been shown through history and in every neighbourhood. Although people cannot change huge character flaws and stubborn D.N.A. – there is the ability, in everyone, to make small changes. When 2018 strikes; it will open up a fresh year and we will all be making ill-advised plans. Each of us has some sort of resolution we want to fulfil but most of it surround ourselves. We might amend our diet or commit to being a bit more active and ambitious. This year has seen some horrible political unfolding and the people are more split than ever. Few can ignore the natural disasters and weather-related events that have struck the planet. From wildfires and floods to earthquakes and record levels of snow – countless lives have been lost and the toll on the planet has been severe. I am not exactly Al Gore when it comes to global warming but have become more aware of the plight of the planet and what we are doing to it. An increasing population and the increase in travel are reasons why pollution levels have risen and are create damage. That is a simplified deduction but is part of the problem.

PHOTO CREDIT: Unsplash

In some ways, music is part of the issue: it can also aid awareness and help bring about change. It is not a new phenomenon: the music industry has been causing problems for years now. I am reading an article published in The Guardian back in 2010 that highlighted the carbon footprint left by some of our biggest acts:

“Each year the UK music industry is responsible for around 540,000 tonnes of greenhouse-gas emissions, according to researchers from the UK and US. Three-quarters of this is due to live music performances, while the rest is caused by music recording and publishing.

"This is the first study to map the greenhouse-gas emission profile of the music industry," Catherine Bottrill of the University of Surrey told environmentalresearchweb. "Furthermore, there are few publicly available studies of service industries and we can't think of one directly comparable."

The study was commissioned from the University of Oxford's Environmental Change Institute by Julie's Bicycle, a non-profit organisation launched by UK music industry heavyweights on the eve of Live Earth in 2007.

"In a highly competitive industry such as popular music, this type of co-ordinated approach is unusual, but provides the opportunity to build consensus and develop rapid strategies for a lower-carbon future for this sector," write Bottrill and colleagues Max Boykoff from the University of Colorado Boulder, US, and Diana Liverman of the University of Arizona, US, and Oxford University, UK, in a paper in Environmental Research Letters (ERL). "A number of artists are firmly committed to social and environmental issues, such as Annie Lennox, U2, Sting, K T Tunstall and Peter Gabriel to name a few, but until the efforts of Julie's Bicycle, these artists did not have the co-ordinated support of their industry behind them."

PHOTO CREDIT: Getty Images

“According to Bottrill, there was a need for an original piece of research because information about the industry's greenhouse-gas emissions was very limited. "There existed only one major study about the greenhouse-gas emissions produced in CD production and distribution, and also a few artists have done an emissions audit of their tours," she said”.

I highlighted this part of the article because it brings together two elements of the industry: the travel and number of miles covered by big acts and the production realities of C.D. and vinyl. Last year, Rolling Stone published a piece that looked at the plastic pollution we create:

“How much garbage does a typical music festival generate? The 2015 Bonnaroo Music and Arts Festival, with roughly 90,000 attendees in Tennessee, produced more than 679 tons of waste over four days. That's 15 pounds of waste per festival-goer — nearly twice the average amount a U.S. consumer uses daily. The biggest component of that waste was single-use disposable plastic: water bottles, beer cups, straws, utensils, wrappers and packaging”.

They might be slightly different worlds but, in a sense, what we are dumping in the oceans/rivers is affecting our planet. It may not rip a huge hole in the ozone but it is killing sea-life and means, before long, there will be more plastic in the sea than fish! The article explained how changes are being made – why organisers and festival heads are being more conscientious and proactive:

“Many other artists, including Maroon 5, Ben Harper, Keb' Mo', Bonnie Raitt, Dawes, Jackson Browne, Athena, Tom Petty and the Heartbreakers, Moxie Raia and many others have reduced plastic pollution on tour through both practices on the road and policies in their riders for venues, and some talk directly to concertgoers about the issue.

 PHOTO CREDIT: Unsplash

Their fans are joining the movement. In 2014, Rolling Stone explored Refill Revolution, Bonnaroo's program in partnership with the Plastic Pollution Coalition (PPC) and Steelys Drinkware that encourages attendees to purchase or bring their own refillable stainless steel cups, bottles and containers. Organizers invested heavily in these efforts with  dedicated staff, volunteers and information-tracking. Their 2015 Clean Vibes program recovered an incredible 67 percent of the gathering's total waste output, saving nearly 200 tons of waste from going to the landfill. The first year, 2014, resulted in a reduction of waste by 400,000 bottles or cups; in 2015, that impact nearly doubled. This year they continue to scale up the number of reusable cups and bottles for attendees, while PPC continues to discuss its Plastic-Free Touring initiative with artists and management teams”.

The music industry creates a lot of pollution/problems but is more aware and motivated than a lot of sectors. C.D.s are less-common than before but we still consume a lot of vinyl. The chemicals and materials used to make vinyl – and to ship it to the consumer – means there is a lot of damage done that we do not even realise. If the humble C.D. is being replaced by streaming services; does this mean the digitisation of music is leading to a pollution-free industry?! I am pleased to note festivals are recognising heaps of rubbish and gases being released – mountainous piles of toxins/plastics are not the way to tackle the evident changes to our environment.

PHOTO CREDIT: Unsplash

Have these changes come too late?! We all know how much rubbish is accumulated at festivals; the sort of crap discarded by the average festival-goer – and the sort of pollutions produced by factories that produce C.D.s/vinyl. If the move from plastic bottles is an aim to prevent further depletion and destruction; I wonder whether other areas of the industry need to be addressed. We still produce an awful lot of material in the industry. If C.D.s and plastic bottles are being reduced: what about merchandise, music gifts and electronic products?! The factories and processing plants these are manufactured are not the greenest and most economical. Small changes are coming in but that does not mean they are free of pollutants and chemicals. We cannot stop people buying gifts and giving their money to the industry: we can ask questions that force manufacturers to look at the materials they are putting into their products. Reducing the plastics and chemicals we use will make a difference but I am concerned the carbon footprint created by travel is a bigger threat. Even the smallest artists need to travel and get around the country. Air and road transport are the ways to link musicians to fans but, when you see the big artists, the number of miles they cover is eye-watering. From continent-spanning flights to the long hours on the road – what is the price of that embarkation and distance?!

PHOTO CREDIT: Unsplash

Air travel is an industry that struggles to keep pollution down and it is a lot more complicated than adding catalytic converters or going electronic. Cars are not even at a realistic stage where they can switch from gas to electric; factories are not doing enough to reduce their damage – what kind of impact are flights and road travel doing to the environment?! Again; it is hard to limit and ration musicians who are in-demand around the world. They cannot stop going on the road but, like festivals aware of the plastic pollution and littering population – should we take measures to limit the damage being done?! Gigs can be streamed and I worry whether the closure of local music venues is forcing artists to travel further to get attention. We always need to look at the survival of our smaller venues but, with the advent, rise and dominance of the Internet; can we streamline and focalise gigs? It does not have the same effect and sound as an arena/stadium gig but it would solve another issue affecting musicians: the fatigue and depression caused by endless touring and work. Their physical and mental wellbeing is important and needs to be preserved; the environment needs protecting and safeguarding against repeated assaults – surely these are vital and blunt enough to stop many in their tracks?!

PHOTO CREDIT: Unsplash

I wonder how many of us watched the David Attenborough-narrated Blue Planet II and marvelled at the colours, sights and underwater spectacles! Even during the series; we were told about coral being blanched and the depletion of the natural world. The waters are warming and that is killing off sea-life at a disturbing rate. This year has seen one of the coldest winters in the East of the U.S. and means trillions of dollars will need to be found to reverse the damage. The bigger artists become, the more people want to see them; more physical units are produced – although streaming has alleviated some of the burden – and the consequences are severe. Although the music industry is responsible for causing pollution and adding to the burden placed on the environment; there are way it can rally, support and change. I wonder whether we need to start thinking about the way climate change is affecting people. Back in the 19870s; Sir Bob Geldof realises the famines in Africa were too much to handle – something needed to be done to help them and make the world more aware. Rising temperatures are exacerbating a plight that is worsening; developed nations are experiencing more natural disasters and climate-related catastrophe; the seas are being poisoned and the air is getting dirtier. I have argued how we could get a charity/body organised where concerts/events are run to raise awareness/funds to combat problems in the world. Depression and anxiety is claiming lives whilst online bullying and the downsides of social media impact musicians. Pollution, climate change and natural desecration is not solely because of musicians/fans and their part: everyone on the planet has to take some slice of the blame.

PHOTO CREDIT: Unsplash

There might be a huge irony getting artists together at a huge concert; get them from all around the world and produce a lights-and-warts spectacle that compels the world. Maybe that was what we saw with Live Aid but a greener, more practical alternative could come about. Instead of all artists coming to one location, they could all perform in their home locations and there could be a day-long series of events. Maybe a plastic-free, environmental-friendly concert could be held (that would limit damage normally done) and all proceeds go to charities concerned with climate change and protecting the planet. A concert will not cure the issues we face – same can be said concerning depression – but is an important step that would make people see the music industry accepts its role and is taking steps to remedy the problem. We cannot get a clear reading of how much pollution is being caused by the music business. Manufacturing pollution is less severe than before – due to streaming and digital music – but travel, littering and other factors have not gone away. Music is a fantastic industry and one that can help motivate and inspire the rest of the world. Putting on a concert/event that highlights the damage we are doing to the planet – if the likes of Al Gore have not already done that! – is a good start but, going forward, greater awareness from everyone is paramount. They need only be small steps but thinking about our carbon footprint, and the amount of plastic we use/discard, is a possibility. Musicians need to think about their role and be conscious of the pollution created by long-distance travel and their concerts. If we all make a concerted effort to (help) tackle climate change; it will mean we can do something about a growing and potent problem…

 PHOTO CREDIT: Kwest/Shutterstock.com

THAT affects us all.

FEATURE: In Your Honour: The New Year's Honours Playlist

FEATURE:

 

In Your Honour

 IN THIS PHOTO: Ringo Starr (who has received a knighthood in the New Year's Honours list)/PHOTO CREDIT: Scott Gries/Invision/AP

The New Year's Honours Playlist

________

IT was about time Ringo Starr was recognised…

IN THIS PHOTO: Bee Gee Barry Gibb (who also received a knighthood)/PHOTO CREDIT: Getty Images

and given a knighthood! Paul McCartney got his long time ago and I wonder, because the Queen feared he might reject such an accolade – she was reluctant including Starr in her list of honoured figures. I am delighted he has been dubbed a ‘sir’ and it recognises what an impact he has made to music. That was not the only music-related honour announced. Musicians Marc Almond and Wiley were OBE and MBE respectively. Their music, in its own way, has changed the world and it is only just they should be mentioned. I am thrilled surviving Bee Gee Barry Gibb has been awarded a knighthood – I suppose it is less an award and more of a noble rite of passage. Those most inspiring and influence deserve the sort of recognition and honour most of us envy! Gibb’s Glastonbury set saw him enthral crowds and show that he still has that magic touch – years after the Bee Gees called time. Not only that but actor-cum-musician Hugh Laurie has received a CBE. He has provided so much to the world of entertainment – his music is a part of that. I am really pleased he has received the CBE and I know it will mean a lot to him! In honour of those musical figures who will have been singled out in the New Year's Honours list; a playlist that collates their finest moments that help remind us…

 IN THIS PHOTO: Hugh Laurie (the musician and actor is awarded a CBE)/PHOTO CREDIT: Getty Images

WHY their accolades are richly deserved.

FEATURE: How to Win Fans and Influence People: 2017’s Trends and 2018’s Promise

FEATURE:

 

How to Win Fans and Influence People

 PHOTO CREDIT: Unsplash

2017’s Trends and 2018’s Promise

________

I am looking forward to 2018…

PHOTO CREDIT: Unsplash

because it provides a chance to shed off the bad of this year. That sounds all-negative but there have been some bleak times in 2017. In terms of work, personal life and happiness – as I have revealed before – it has been a very challenging and forgettable one. I am not prone to the tradition of resolutions – they get broken and it seems rather meaningless if you do not enforce them every day of the year – but having resolve is a different thing. Rather than a promoted, cliché list of well-meaning, half-arsed resolutions; it is better adopting a utilitarian, sentient approach that looks at the entirety of life – rather than narrowing down to diet/love etc. It is good having aims for a fresh year: the desire to change is something few of us are compelled to do. Sticking with those aims is harder than one might think. I feel, given the Satanic-sized log of 2017; I have no choice but to take a rather drastic and severe approach to the year ahead. Few of my concerns and goals revolve around anything as poultry as dieting and exercise. Music has been the saving grace of my year and something that has brought pleasure and fulfilment. I am going to dedicate my time to journalism, of course, but take a different approach.

PHOTO CREDIT: Getty Images/Press Association

Rather than spend hours at a laptop typing pieces; the need to get out and engage with the people is paramount. Having London on my doorstep means there is an easy and convenient link to all the biggest venues and artists coming through. With drive comes ambition – I am keen to include bigger acts into my repertoire rather than fledgling acts with less of a visual eye (and music that has fewer fans and will get me less exposure). Making my site more multi-media and cross-platform is not only a good way of adding social catalyst and meaning – it means my work gets to more people and is afforded a more visual/audio angle. I love the way my site looks but I limit myself in terms of scope. I will include more videos and features; looking at classic albums and launching a new interview feature; plotting a new all-encompassing website and trying to rival the big sites in music. Personal development is on a par with personal enrichment – something that is evident in the wider music industry. Whilst it is important to aim high and be ambitious as you possibly can; looking after your health and mental well-being is equally crucial – one cannot be a sustained and energised success if the mind and body are flagging. Health and happiness are solid goals but prone to entropy and the unpredictable winds of life. One need not take big steps but making small changes here and there can make a big difference.

PHOTO CREDIT: Unsplash

One of the things, to me, that has defined 2017 is a sense of exhaustion and strain. I have heard a lot of great music but, worryingly, there have been so many social media statuses that border on suicidal. Artists are being pushed/pushing themselves to the ragged ends and that is creating scars (mental and physical) that makes me worry too much pressure is being put on the shoulders. I am determined to give myself more downtime and care less about numbers, visibility and popularity. To remain relevant, one must remain prolific and consistent: if that comes at the expense of your passion and health then that means the long-term repercussions will be telling. It is counterintuitive taking a more relaxed approach to music but, for musicians and journalists alike; quality will increase and you will be healthier and more relaxed – if it means you are not mega-massive on Spotify and on BBC Radio 1’s playlists, then so be it! Although the modern market suggests an every-hour-of-the-night-and-day mandate is the way to get big and noticed – we need to collectively counteract and highlight the effect it is having on the mind and body. I feel, creatively and intellectually, music is as hungry and curious as it will ever be. The biggest aims for 2018 should revolve around the work-life balance and ensuring there is adequate room for relaxation and recharge. I will come onto the trends (musically) of 2017 – and where next year’s music will go – but want to highlight why small, grassroots personal improvements can go a long way.

IN THIS PHOTO: Flinders Street station, Melbourne/PHOTO CREDIT: Unsplash

Among my smaller goals for next year (not resolutions; part of the overall plans) concern relocation, travel and sociability. I want to move to London or Manchester – both have their own advantages but it is a case of whichever bites first! – and see more of the world. I have not been abroad for years and, among my go-to locations, are Melbourne and L.A. Both are expensive trips but ones that, for musicians and writers, are essential. So few artists I know are holidaying and giving themselves chance to see the world and detach from the industry. Travel, as they say, broadens the mind: the creative portals are replenished and cleansed; you get chance to unwind and get a greater understanding of the world. The 2017 Brexit/General Election debacles, in part, have arisen from a lack of understanding – not realising how different people live and why the issue of immigration is not really an issue (that negatively impacts our togetherness and identity). Other plans I have (next year) revolve around personal relationships and love. I want to be in a relationship and prioritise those who have been there for me – discarding and ignoring those who offer nothing but stress, hate and annoyance. Too many artists/people are concerned with making big changes and racing too far ahead. Addressing smaller things that are impacting life negatively need to be tackled and remedied.

IN THIS PHOTO: Rews are tipped for big things in 2018/PHOTO CREDIT: Elaine Hill

This year has been a good one for music but one that has been defined by a certain rigidity. There has been, like all years, a variety of wonderful albums from all genres. What I have found is little to suggest Rock, Alternative and Indie sounds will claim any stronghold next year. The Pop scene has got a lot of press but I have found the sort of sounds coming out pretty dour and threadbare. Apart from promising artists like Lorde; there is too much infantile, commercial and cliché Pop sounds dominating the charts/radio. Hip-Hop has had an impressive year and given more weight and attention – Grammy nominations and some stunning L.P.s mean it will continue to grow and inspire next year. One of the best things I have seen come out of 2017 is the sense of variety, ambition and quality of newer artists. The mainstream has been good and produced stellar work but it is the fresh acts – getting play on the finer radio stations and making their presence known on social media – adding promise, health and vibrancy to the music scene. I am seeing more Electronic artists splicing other genres into the mix; Post-Punk/Alternative artists revert to the 1970s and 1980s – even though they have not reached the giddy heights yet – and a pleasing blend of progressiveness and heritage. Artists are not abandoning physical formats and sticking rigidly to Spotify: I have seen a lot of C.D./cassette releases and (artists) putting their music onto vinyl.

PHOTO CREDIT: Unsplash

If the dogma of the mainstream is to continue as normal; the maxim and mission statement of the underground is transverse and expansive: push boundaries and take bigger risks regarding sounds, convention and limitations. I will not get into all the trends we have seen regarding the business side of the industry – I will write a piece touching on that this weekend – but there is a definite split between the mainstream and underground; one which leads me to believe, ironically, there is going to be greater integration and balance in 2018. I have mentioned health and mental improvement: how we need to take more care and not be slaves to the digital demands and whip of music. There is no stigma attached to detaching (slightly) from music; finding the opportunity to see more of the world. There has been a lot of isolation and division in the country: creating a more inclusive and connected music world has to rank high in the collective psyche. Whilst there have been some interesting anomalies and patterns emerge from 2017: I am more interesting seeing how much will change in the coming weeks/months. There is an inherent and inescapable link between politics and society – how they have fared, changed and charted – and how musicians react. This one has seen some bad decisions and terrible decisions by those elected and nominated to rule – I feel this year’s most consistent and coherent sounds have come from those artists slightly under the radar.

I hope next year will see greater prominence given to personal development and reconnaissance of the mainstream – so there is an easier path and access for new artists to get their music heard. I feel the hegemony of Pop and commercial sounds will wane: more innovative and ubiquitous Pop artists will make a bigger dent. I have mentioned Lorde as a Pop exception rather than a rule – more like-minded artists will come through and steal some focus from the hollow and streaming-focused (more concerned with notching up numbers as opposed to creating something meaningful). Not only has the likes of BBC’s Sound of…2018 suggested Pop has overtaken Grime/Rap (when it comes to the newcomers) but those included are not your average chart-pining type that need others to write their songs and leave no memory in the mind. I am excited seeing how Pop evolves and what kind of music is coming through. Female musicians are going to have a big say in how 2018’s music mutates. Hip-Hop/Rap stars such as Cardi B, SZA and Princess Nokia have the talent to create year-defining music – it will be encouraging seeing these male-dominated genres shift (slightly, mind) in the right direction. Whereas some genres might take a bit longer to revive and strike – Rock and Alternative among them – I feel quality will be a defining trait for 2018.

IN THIS PHOTO: Tinashe/PHOTO CREDIT: Getty Images

Not only will the mainstream Pop newcomers place more emphasis on durability and meaning: there will be, I reckon, less dependence on the biggest mainstream stars and greater faith and belief in the new generation. The biggest shifts that need to occur – and I hope will – is to provide a bigger focus on genres like Hip-Hop; the improvement and diversification of Pop; women having a bigger say in music – parity, equality and compassion being right at the top of the tree. Maybe I am naïve but I know there is that will and desire for change – how much of that will be fulfilled has yet to be seen. The rise of new Pop; the stronger role Hip-Hop will play; the speculated albums of 2018…all things to look forward to. Apart from Jack White, Billie Marten and Cardi B; there are rumours of new Florence + The Machine material. Popstars like Tinashe will bring new stuff out whilst Tom Misch, Robyn and Jorja Smith are signalling – speculation concerning Vampire Weekend, The Vaccines and The 1975 releasing are rife.  Those aforementioned artists, between them, are making me excited about 2018 already: throw into the fact we always get out-of-nowhere surprises and epic albums arriving means it will be a fascinating, versatile and quality-focused year. It is hard to predict which of the rumoured albums will worry the poll-makers this time next year (as they announce their favourite albums of 2018). I feel Jack White will be near the top – that urge for mainstream Rock/Blues is palpable; he always provides something strange, delightful and genius!

IN THIS PHOTO: Tom Misch/PHOTO CREDIT: Getty Images

If this year hasn’t been quite as strong as 2016 – the best albums of that year are finer in my view – there have been some important discoveries, trends and albums released. It has been exciting, unpredictable and ever-moving; artists treading new ground and some fantastic future-stars revealed. I am hopeful for the New Year and know there will be some important shifts and big accomplishments. It is important, for myself as much as artists out there, to concentrate on the self: music will only be strong and at its very best if you are healthy and happy (as can be). It may sound idealistic to suggest some positive-thinking is all one need – when I know the reality is far more complex. As we bid farewell (almost, anyway) to the eventful and memorable 2017: a fresh year arrives and, with it, plenty of hope and prediction. It is impossible to know exactly where 2018 will take us - but I have every confidence we will see big improvements, shifts and steps…

 PHOTO CREDIT: Unsplash

IN the right direction.

TRACK REVIEW: JoAnna Lee: Drinking by Myself

TRACK REVIEW:

 

JoAnna Lee

PHOTO CREDIT: Alex Hopes 

Drinking by Myself

9.5/10

Drinking by Myself is available via:

https://www.youtube.com/watch?v=BRh2GAdn5kM

GENRES:

Soul; Pop; Country; Folk; Singer-Songwriter

ORIGIN:

Austin, U.S.A.

RELEASE DATE:

27th November, 2017

The album, So Free, is available here:

https://open.spotify.com/album/0N9yLdATHTm9zSiF7qZd4Q

_________

THE penultimate review of the year…

takes a looks at JoAnna Lee and her fantastic music. I will speak about her soon but, right now, there are a few subjects that come to mind. She is based in Austin, Texas – so there is that eagerness in me to explore the state. I wanted to look at singers who combine Country and the Singer-Songwriter sounds; the songs that warm the heart and provide comfort in the winter; the right mixture of artists when growing up; the way songwriters like JoAnna Lee can evolve and make an impact; why the U.S. is providing more range and fascination – a bit about taking a chance and going for it. It has been a while since I’ve looked at a Texan artist. JoAnna Lee has been in the state for a while but it is the perfect place for her. I have reviewed a lot of L.A. artists but it has been a long time since diving into Texas. Most of my reviews – when looking at Texas – concentrate on Austin. It seems like a place many gravitate towards and provides the right mixture of passion, opportunity and intrigue. Local sources like Austin Monthly have named their artists, they feel will make a dent in the coming months. Earlier in the year, the publication listed Bee Caves, Jackie Venson; Otis the Destroyer and Tele Novella as artists to keep an eye out for. You can do your own research but each of those artists has an eclectic and varied sound that sticks in the mind. One of the common threads is originality and power. You do not get anything predictable and safe when it comes to Austin-made music. ‘Older’ bands from the city, like Spoon and The Octopus Project, have inspired the people and showed what Austin is made of. Many of us, when thinking of cities outside L.A. and New York often head to Nashville. It is a Mecca for Country stars so one might assume JoAnna Lee would head there to hone and expand her sounds.

I am interested in her music and feel she is in a better place. There is more variation around her and a broader scene compared with Nashville. Not only does she get those great local musicians around her; there are incredible venues and scenes to compel the mind and provoke the pen. One listens to the voice and hears the music flow and knows the people, surroundings and music of Austin seep into her bloodstream. I have been waiting to discover an artist that differs from anything out there; gets into the mind and motivates the senses. Austin is a wonderful city to expand your horizons and hone your skills. From Red River District’s The Mowhawk through to Parish in Congress Ave District; Strange Brew in South Manchaca; the wonders and reputation of Antone’s – so many different spots to cut your teeth and get people talking. I am not sure whether JoAnna Lee has played these spots but possible venues she could visit in 2018. Unlike areas like Nashville; there is not a dependence on one genre and flavour: you get every genre imaginable sparring and interweaving. That means musicians are more confident when it comes to writing and their music is deeper and more nuanced. JoAnna Lee has moved from smalltown U.S.A. and developed into a strident and ambitious artist. I hope she remains in Austin - and does not feel the need to go somewhere like L.A. or New York. One of the best things about Austin is the fact you have California located on the West Coast not too far away; New Orleans and Nashville are fairly nearby – not walking-distance but an easy flight. Texas does not need to rely on close-by states because, aside from Austin, there are cities like Houston and Dallas – big areas that have their own music scene and characteristics. Austin artists have that freedom because they can tour conveniently in big parts of the U.S.; they are situated in a warm and multicultural region; there is the rich history and reputation many take to heart.

I am not usually a big fan of Country and Singer-Songwriter unification but, if done right, it can result in some terrific music. JoAnna Lee is someone who has a broad palette – more on that later – but her new single has that ache and soothe – one is put in mind of contemporary Acoustic/Country artists and some of the legends of music. I am not sure how much of one’s upbringing enforces their own music but there are distinctions between JoAnna Lee’s childhood fascinations and what she is making now. I have been listening to a lot of her older material and can see how the music has shaped and grown. There is more confidence and colour in the present tense; the ability to switch between genres and assimilate more passion. Drinking by Myself is a track of loneliness and reflection; it has plenty of charm and emotion but it never wallows and sinks into a pit – energy and kick are at the heart of the track. Modern artists who combine sounds like Country and Singer-Songwriter are still sourcing from the older icons but are ensuring the forms are pushed forward and kept relevant. It is always hard breaking barriers and trying to compel those whose tastes are quite rigid. Rather than compromise ethics and sell out your instincts; artists like JoAnna Lee are blending in modern production and big choruses with gorgeous vocals and lyrics that can be understood by all. That might sound quite vague but they are components that mean that people like me, who do not usually go for such sounds, are drawn in and hooked. I feel one of the big problems with certain genres/sounds is we get this stereotyped impression and do not really venture too much into things. That would be a mistake with regards JoAnna Lee – she is someone who has a very modern and broad sound; she never loses focus and mixes her own D.N.A. with that of Austin.

Maybe it is a bit narrow referring to JoAnna Lee’s music as Country. She has Folk strands and puts together some Pop undertones to create something fulsome and evocative. What strikes me is the way one is transported into a safe world and drinks in all the tones/layers. I have heard too many predictable and safe sounds this year: the fact JoAnna Lee broadens our horizons and has a unique flair means one is more invested and sustained. I am eager to see where she heads next year and whether her music will continue to build. I will talk about her album in the conclusion but I have been digging into Drinking by Myself and what could have compelled the song. There is a desire to find sanctuary and companionship but a certain sense of clarity. The words and themes of the song are familiar to anyone who is a fan of Country but there is a wider remit. It is about a woman going through some tough times but dealing with them in her own way. If one listens to other songs in her cannon; there is a lot of personal revelation and exposure. The young songwriter is unafraid to reveal her pain and let the listener into her heart. That is a commendable attitude and reason many of us should turn her way. This year has been important and successful. She has accrued a local base and getting attention from other parts of the U.S. That is in no small part because of the way she reminds one of some music greats but fuses that with something unexpected and fresh. The electricity, physicality and drive one hears in JoAnna Lee’s music is enough to get the body moving and the brain working – the songs stay rooted in the head and you are fascinated to hear the next song. I will speculate where Lee will head next year but, right now, it seems she is near her peak.

That sense of quality has not arrived overnight: her upbringing and incredible music past means she has changed her style and incorporated new elements over the years. One of the things that stands out regarding Drinking by Myself is the way it infuses the heart. The song has some hint of isolation and desire but there is a sound and flavour that gets one warmed and smiling. The track never lets up its yearning and searching; it smiles and dances but there are harder, darker tones working underneath. All of this is a potent brew from a talented young songwriter. She never drags the listener into a shadowy, tough place but, at the same time, gets them thinking and looking at myself. The most memorable aspect of JoAnna Lee’s music is the voice. It is a sumptuous bouquet that has love and tenderness but has that sharpness and independence. Lee is a musician that cannot be pegged and defined easily. I am curious about her beginnings and will explore that in a minute. What drew me to her current track is the way it hits you the first time you witness it. The song is a big and anthemic number but one that reveals more stories/possibilities later down the line. The year has been challenging for many of us and the weather is turning. In the remaining days of 2017; we will look to keep warm and safe; make sure we are happy and insulted. Music is a great way to ensure that and, if you are looking for an artist who can inspire all of that, JoAnna Lee is your girl.  Reviews and media opinions share my sentiments and have backed her for big things. What, then, is the reason behind such a rich and variegated sense of songcraft? We can talk about the modern scene but we rarely look at where artists came from in terms of their musical tastes.

Stevie Wonder is a name that has been associated with JoAnna Lee. She was raised on his music and, whilst her classmates were listening to Pop and the chart sounds on the radio; the aspiring songwriter was digging into crates and listening to older records. She grew up in a household with the legends of music. Wonder is an artist that made an impression and spoke to a deeper part of her. That blend of Soul, Gospel and R&B can be heard in the work of JoAnna Lee. She has elements of Stevie Wonder and projects a similar sense of confidence and bravery. Although Stevie Wonder’s lyrics look at different areas of life, I can hear the way he has inspired Lee and made her music stronger and hungrier. If she was to follow the same path as her peers; one would hear something more mainstream and generic. The music would be quite flat and try too hard to get into the charts. That would leave me a little cold but I would still give the music time. Instead, the music one hears from JoAnna Lee is full of life and rich imagination. You get a glimpse of Wonder’s music but that is a stepping-stone to explore other avenues of music. JoAnna Lee crafts her own path and explores ground few other songwriters tread. I wonder whether upbringing and the exposure to good music when young is, at all, partly/entirely responsible for the route songwriters take. You could argue a musician changes their sound and style over time but there is every evidence to suggest what you listen to as a child dictates the way your music will come out. I wonder, too,  which other artists were present in the varied household of JoAnna Lee. With Stevie Wonder as a base; one imagines other Soul artists and contemporaries were played alongside him. For a youngster growing up in a fairly isolated part of the U.S. – not close to major cities in terms of music – a lot of her education and exposure to life would have come through music.

I can hear shades of Etta James in JoAnna Lee’s sounds and feel she was quite an important guide. Motown, Soul and R&B all swam in her head; she used this foundation and has put all of these aspects into her music. After those big artists got into the soul; she performed in wine bars and coffee shops around Oregon. It might be unfair to class JoAnna Lee’s music as purely Country and Singer-Songwriter. There are Rock elements and Pop suggestions; a bit of Folk and some nods to Motown. Nurture and the earliest memories of music are vital and can make a huge difference to a songwriter. I was brought up with so many different decades and genres; that has made me a more curious and open-minded writer – the reason I explore various parts of the musical world. If JoAnna Lee had a narrow and strict musical education then that would reflect on her own music. Regardless of the influence of Austin; the sounds would be less interesting and fail to stand out from the crowd. Instead; there is that fusion of new and old; all these sounds working around one another; an artist who has learnt so much from music – willing to give her all to the world. She graced the stage at the age of three and was raised in a family who played instruments and had that love of music. Her grandmother played piano and grandfather played the harmonica. Generations of the family took to music and that motivated JoAnna Lee to investigate and follow in their footsteps. It is clear there is a certain sense of inevitability when it comes to the passion that flows through the Austin-based songwriter’s soul. Having all sorts of instruments and artists in her mind as a child; there is no way she would follow another career and not be affected. That important and glorious exposure has made her a much stronger writer and more inventive performer.

It is because of all this past education and modern desire that means JoAnna Lee will be a big fixture of 2018. I feel she will continue to aspire and build what she does. I have mentioned a few artists that have got into her mind and helped forge who she is. We have a mainstream scene that has little of the magic and potency one hears in JoAnna Lee’s music. I think we should proffer and celebrate artists like her. Here in the U.K., we are talking about Pop and how the tastemakers are backing the newcomers to do sterling work. Grime and Hip-Hop were big last year and it seems like tastes are shifting. I am not sure what the predictions are regarding U.S. music but I feel the mainstream will change and incorporate new ideals. What I hope is the best new artists (like Lee) are given more oxygen and chance. She has carved out a name for herself in Austin but there is a big country out there to explore. The only way she is going to get into the consciousness is for the big publications and stations to do their part and realise potential when they hear it. Few would argue there is anything more the young songwriter can do. Her current L.P. has so many different sides and pleasures that every listener will find something they like. She has been playing local gigs and pushing her work out there; making sure every song has a different sensation and vibe. In terms of promotion and work; one cannot ask any more from her, for sure. I feel that determination and dedication is why JoAnna Lee will do wonderful things in 2018. It is hard predicting what sounds will rule in a year and which artists will stand aside. We can only take the word of journalists as a guide – it is not an absolute and sure-fire thing. I have been listening to U.S. music and the new artists coming out. JoAnna Lee is in a wonderful city and part of the U.S. that can foster her needs and hopes.

PHOTO CREDIT: Alex Hopes 

The first notes of Drinking by Myself as the vocals from JoAnna Lee. There is soulful strength and intensity but the sound is very much that of JoAnna Lee. If anything, I caught a glimpse of singers like Dolly Parton. That might be me leaping to conclusions but the initial seconds are a curious blend of Country, Soul and Motown sounds. It seems the heroine has been drinking alone and getting drunk. “If I only knew what men were thinking” she tells us. It seems too many have let her down and, through her life, offered little promise and faithfulness. The vocal instantly goes from that strident introduction to something soulful, soothing and classic. One hears that influence of Etta James as the heroine lets the lights down and asks these searing questions. I was invested straight away and compelled to see where the song goes. The heroine does not let the tears roll: instead, we get a mature and resolved woman looking around and asking where things go from here. If the man was honest from the start – and he was taking the relationship seriously – then JoAnna Lee would not be sitting by herself. It seems he was playing games out the trap and one of those guys who feels the need to lie his way through a relationship. That has created the cracks and distance; sees the lovers estranged and disconnected. It is a sad and emotional revelation but one that can lead to revelation and clarity. Although the heroine is drinking alone; one feels it is not a destructive measure: she is looking for company and would be drinking with her guy if he were straight and open with her. He is cowardly but she is not going to let that gets into her flesh. She is standing strong and determined not to let it fell her. The boy has been ostracised but she still has respect for him.

It is sad to imagine the heroine get drunk alone and envisage the man cheating and playing around with other girls. She is kicking herself for not seeing the truth right away. Those foolish moments of trust disguised the lines he fed her. I get a lot of Etta James in terms of the melody, vocal delivery and composition. This might be JoAnna Lee’s version of I’d Rather Go Blind.  That song looked at the heroine declaring her love and saying she’d rather go blind than see the man walk off with another girl. Here, there is less trust and dedication but the same intensity and emotion. This was no ordinary, shallow love: the two were stronger and deeper into things; it seemed like things would run longer and remain. I was following the story and – even though I watched the video – imagined the way she paced the floor and looked around. JoAnna Lee is in the room drinking wine; she is questioning her decisions and wondering whether other girls are being hurt by her former suitor. The strings wind and twang; there is something Folk-like and soulful about them – they entwine and delicately move around one another. The heroine is getting drunk and thinking about the men who have done her wrong. The need to find direction and discover why things have turned out the way they have is urgent. The melody and chorus is gorgeous and sublime. One cannot help think of classic Soul artist and modern Country. It is a fantastic combination that gets right into the heart. The gravelled, whiskey-soaked vocals unite with tender, soft tones and give the song two sides. You have the pontificating, passionate woman who wants to make changes and stop trusting those who cheat on her. On the other hand; there is the sense of loss and heartbreak that sees her medicating that pain with drink. By the end; you are on the side of the heroine and hope things work out for the best – the song is a sobering experience and one that will enforce the way she goes forward regarding men and trust.

So Free is an album as liberated and unshackled as its title suggests. One gets the feel of a young woman unburdened by the strains of doubt and love. Maybe there have been relationships that have dragged her down and caused too much sadness. I know she has gone through trials and chores but has emerged a stronger and more rounded human. It is worth listening to the record to get an idea of where she grew up and the sort of people she encountered. Based in Austin; the people there have inspired her to keep working and aiming high. The album looks at love and life in new ways and, in terms of sounds, draws from the childhood appreciation of Etta James and Stevie Wonder with all the sparks and sides of Austin. It is a compelling brew that one cannot ignore or argue with. I might not have done the album full justice but that is because it needs to be heard and properly investigated. Take some time out – on a cold and damp day – to get into the record and see what it is all about. Even if JoAnna Lee has experienced heartache and hardship: the music aims to warm the senses and get the listener into a safer space. That is what all great music should do I guess. We are all fallible, finite beasts and not immune to the unpredictable aspects of life. Because of that; we look for nourishment and stability wherever we can find it. I am not saying JoAnna Lee can cure all problems and fears with her music alone! She makes things a little easier to cope with. Drinking by Myself is a song that, on the surface, sounds quite exposing and lonesome but never damages the mood. You hear a song that looks at a transitional time and the strength that comes from realisation. It has been interesting reviewing it and how it all came together.

I would like to see the U.S. media take more time promoting JoAnna Lee’s music and taking it to new audiences. I am not sure what her touring plans are but she has the chance to get to various part of the country. I hope she gets to L.A. and Nashville; explores wider afield and ensures the country falls for her sounds. Maybe she will come to the U.K. next year? That would be great and I know she will get plenty of attention here. Perhaps money and a lack of time mean she will stay in America but I feel she could find new fans over this way. We do not have artists like her here – who do the same thing – so we could benefit from her presence. That will be down to her but 2018 is a vital year and one where she will get big focus. So Free is an album that proves what a stunning talent JoAnna Lee is. I have every faith she will transition from a celebrate Austin artist to one of the brightest musicians in new U.S. music. Ensure you support her music and dedicate some time to see what she is all about. Few artists like her exist in modern music so we need to preserve and promulgate them as much as possible. It has been a busy and exciting year for the young artist: the next year will see, I assume, more music and that drive to get to as many people as possible. A passionate and modest talent who wants people to involve themselves with her music; a striking voice and unique star in the music sky…

WE all need to follow.

_______

Follow JoAnna Lee

 Official:

http://joannaleemusic.com/

Facebook:

https://www.facebook.com/joannaleemusic/

Twitter:

https://twitter.com/joannaleemusic

SoundCloud:

https://soundcloud.com/cutmorerecords/sets/joanna-lee

YouTube:

https://www.youtube.com/user/JoAnnaLeeVEVO/videos

Spotify:

https://open.spotify.com/artist/5XafLLr98rg0ANFPv12KFK

FEATURE: Pro Bono? Is the U2 Frontman Right About the Music Industry?

FEATURE:

 

Pro Bono?

 PHOTO CREDIT: Martin Schoeller (for Forbes) 

Is the U2 Frontman Right About the Music Industry?

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APPARENTLY; modern sounds are “very girly”.

IN THIS PHOTO: U2/PHOTO CREDIT: Getty Images

Those are not my words - they emanated from U2’s esteemed lead, Bono. There is a tinge of irony hearing those words from a band-leader who has not produced anything truly raucous, masculine and essential in a fair few years. U2’s latest record, Songs of Experience, has been backed by many critics and, yes, it does have passion and shots of urgency in it. One gets the sense of desperation and alarm when listening to the record: you never feel like the songs are addressing vital issues and speaking for the nation. The songs are not overtly angry: they are not girlish or feminine, either. It is as well the current U2 record has commanded kudos – many seeing it as the best album the Irish band has produced this century – but I wonder whether the comment from Bono is a hype move – a marketing tool to get people invested in Songs of Experience?! There are truisms and clichés on the record; so I wonder whether Bono should be talking about originality and inspiration in music – rather than judging whether there is enough anger in music? I get a little aggrieved when people like Bono make this kind of statement: proclaiming the industry too soft...and there is no real righteousness and indignation. He went on to say the only real anger is coming from the men of Hip-Hop – and that is not a good thing. I feel that quote has been taken out of context: he does not mean it is bad to see Hip-Hop put in the spotlight: it is a poor show seeing only one genre take the initiative (when the whole industry should be...).

PHOTO CREDIT: Getty Images

I wonder whether, as the title of this piece implies, Bono’s remarks are for the public good?! Is it wise to make statements when you head a band who are being accused, in some quarters, of lacking the spark we know they can produce?! I have been clenching quite frequently this year when reading about various musicians making statements in the press. The furore and smog of Morrissey’s latest clanger is still hot and being punted around. Whether his remarks were isolated and misrepresented – he claimed some abuse victims, when speaking about Harvey Weinstein and Kevin Spacey, knew what they were getting themselves into – or not; it has not been a great time for the biggest musicians. We ended them to lead the way and provide guidance; rather than come out with ill-advised opinions and sweeping statements. I wonder whether Bono’s comments hold any clout. One can argue the predicted revival of Rock has been rather damp and homogenised. The fiercest albums of the year – Royal Blood, Queens of the Stone Age and Foo Fighters among them – have not concerned themselves too heavily with political issues and societal cancers. Queens', to be fair, flexed their observational muscles a bit but there was never that sense of an all-out-aggressive and pumped-up record. The Disco edges added kick and swagger but lacked the teeth and motivation of earlier albums.

IMAGE CREDIT: Boneface 

I have not heard an album this year that coherently and impressively articulates the anger and frustrations of the people. Eminem’s Revival was plenty angry enough but remains scattershot, diluted and bereft of the wonder we know he can summon. I wonder if it is a case of – to flesh out Bono’s remark -  music being angry AND good?! I don’t think it is a bad thing Hip-Hop and Rap are carrying the torch for the disaffected and riled – Bono did not mean to slate them; only to suggest they are the only visible voice of rebellion – because the genre has struggled to get proper mainstream acceptance. The closer (Hip-Hop) gets to the mainstream, the better for music as a whole. While the genre(s) is largely male: it is not the case the men are the only ones capable of standing out. That is the role Hip-Hop has always played. The genre, alongside Rap, is for the minorities and the poor; the people who have to struggle to get attention and are trampled underfoot. The finest poets of Hip-Hop established themselves as the voice of those who had none. That has not changed in the modern day – even if there is not the same quality and innovation as past decades – so one should not be shocked Bono should make such a remark.

PHOTO CREDIT: Unsplash

 I agree there is not enough genuinely fresh and memorable Rock/Alternative music around. The likes of IDLES and Wolf Alice are a rare breed that does not epitomise the industry. Maybe the up-swing is around the corner – I think it will not happen for a few more years – but I wonder whether it is a case of patience and waves? The reason we had legendary bands like Oasis and Rage Against the Machine in the 1990s was (because) there was an outlet to be heard. Those bands are passionate and angry in different ways – Oasis a more positive and all-come-together vibe – but there were more working-class journalists that supported their music; they could thrive and evolve because the scene was set up for them; keen to welcome them in and stacked with like-minded artists who can challenge them and push their creativity. The reason we do not have the same angry, awe-striking bands is down to the way the industry is structured. There are comparatively few working-class writers in the bigger publications – most newspapers and magazines look for interns; those in paid jobs tend to come from more privileged stock – and there is less visibility regarding magazines. The likes of NME – once the natural destination for proper, big bands – is digital and losing its edge. Maybe there is a lack of talent and desire but I feel the cessation of masculine, angry music is the lack of understanding writers – those who have the same background, and therefore, are likely to spot potential when they hear it!

IN THIS PHOTO: Oasis/PHOTO CREDIT: Getty Images

It was the ‘girly’ part of Bono’s remarks that cheesed me off somewhat! He is making the assumption that, A) angry, proper music is being made by men and, B) anything that lacks a Molotov firebomb is wimpy and effete. U2, as I said, aren’t exactly N.W.A. or Slipknot, are they?! An ageing Rockstar – albeit it one who has helped shape music for the better – should not really make generalised, unsubstantiated remarks when his own output lacks real spirit and charge. Anger and aggression are only valid and purposeful when they have depth and speak to the people: if it is personal vitriol, or has no way of connecting with the people, then there is no point putting it onto the page. (Do we really need to hear that all the time?!). Before I take the defence against Bono; I agree we need to open the legs of music a little more – it is wearing a cardigan, sitting shyly and reading a book at the moment! That is not to say it should rip off its knickers, lay on its back and, well…you can finish the rest! Where we are now – in terms of pertinent, potent Rock – is light-years detached from the strength evident in the 1990s/early-2000s. I do not believe there is a lack of potential and ammunition out there (I hear a lot of independent acts who can provide hope) but we need to look at the structure of the industry and the artists we elevate to the highest positions.

PHOTO CREDIT: Unsplash

The dominance of privileged, middle-class artists at the forefront means many artists are concerned they will not gain acceptance and promotion from taste-makers and the public. It is not a case of Rock’s new attack being right on the horizon: the air is so thick with smog and cloud we cannot see the horizon right now. You cannot expect things to take a complete about-face without any structural changes and questions being raised. IDLES are a great working-class band who possesses anger and solid songs. They are never going to be on the same level as, say, Ed Sheeran whilst music (the charts, at least) favours the wealthy and commercial. I am encouraged by the likes of Wolf Alice and IDLES but one would be pushed to rattle off a list of fellow artists who could overpower the mainstream and provide a resistance. That is not their fault but that of the labels, media and, I guess, public. Music is becoming more insular and personal than any other time. Shows like Top of the Pops and the charts meant people would eagerly tune in and watch as the best artists in music played their latest song – we would go out and buy that and, in turn, that would build a market and compel others. Now, we do not have a music T.V. option and the charts are less relevant than ever. Streaming services make it easier to gain access to music’s bountiful bosom - but most people are ignoring the charts and proffering their own tastes. Social media has its benefits but is less powerful (when it comes to leading a rebellion) than a cohesive and populist chart/T.V. show.

IN THIS PHOTO: Wolf Alice/PHOTO CREDIT: Getty Images

There are angry, manful and primaeval artists ready to rampage and slake but, until the doors are open and the rose-coloured glasses are cleaned – how likely are they to get anywhere near the dinner table? I know Bono has not put as much thought into things as me but maybe he should. In order to give any credence to anything the likes of him say; one needs to dig deeper and look at the argument from both sides. If the ‘best’ Rock/Alternative artists out there are concentrated on their own lives and issues; do we need to look elsewhere, until we can transform music for the better, for something concrete and physical? I think, when Bono talked about the ‘girly’ side of music, he was not meaning it is a sexist way. Music, unfortunately, has not been overrun with female-made sounds nor is it too florid and sensitive. I think – I hope – he meant there was too many Electronic/Electro-Pop acts and artists who favour texture and colour over a kebab to the face? Music can only grow and survive if we welcome new artists and foster their personality. I disagree things are girlish and weak: anger, impression and spirit can come from different sources and genres. It is awfully close-minded and offensive to suggest anything that strays from Rock and Alternative sounds is, by omission, inferior and pointless. Music goes through stages and, whilst we saw a prevalence of harder sounds in past times; now, there is a wider market, and with that, one will find a less concentrated and one-channel sound...

PHOTO CREDIT: Unsplash

I think, in many ways, we are in a better position than we were decades ago. New artists can have a say and do not need to rely on a record deal; new sub-genres are coming and there is far greater choice than ever before. The recent this feature is less succinct than one would hope is because you cannot challenge/address Bono’s comments without justifying your decision – and looking at the flip-side of the debate. Maybe his was a flippant and misconstrued remark but I do agree with the assumption there needs to be a kick up the backside of the industry. Whether we can reach the same peak as the 1990s remains to be seen – I suspect not; for many reasons – but that is not to say all hope is lost. A lot of the older, established order have passed their best days and are not in the position to inspire the new generation. The most essential and energised albums, in the Rock milieu, are from newer acts; those closer to financial and personal struggle than those who are more comfortable and successful. Struggle and hardship compels great music with stature: if we are augmenting musicians who are so removed from that way of life they cannot authentically rally and protest – are we ever going to see change?! I disagree with the term ‘girly’: maybe ‘demure’ is a better term?

PHOTO CREDIT: Unsplash

Most musicians have anger in their hearts – one cannot look at the world and the way politicians are mismanaging huge issues – and not feel a sense of disgust and aggression. The reason Pearl Jam and The Who (two bands Bono named-check when looking at better days) managed to articulate and define the feelings of the masses and isolated alike was the willingness of the industry and public to open their arms (and wallets). We have a lot of angry artists playing but I feel a lot of that anger is less creative: many are angry because they cannot get their voices heard and have to fight so hard to get noticed. One cannot rationalise a remark like Bono’s without querying why we are in the position we are in right now. I agree with Bono that we need those big, epic-sounding artists at the forefront: that is impossible when there are so many issues and oversights being ignored. Rather than condemn Bono as foolhardy and offensive – maybe a thesaurus would have been a good Christmas present! – we should use it as a chance to review and challenge the contemporary order. If, as I suspect, he feels Pop, Folk and Electronic music is taking too much of the pie – what can we do to make it so the music industry has better quiet-loud, genre-mix balance? I love a lot of the less ‘masculine’ and experimental music around but feel there are valid reasons why we are seeing fewer Rock heroes/heroines emerge – that go beyond talent and quality reasons. I disagree with the way Bono expressed himself; him saying music is girly: I do agree with the fact there are fewer exciting and society-defining artists that will stick in the mind decades from now. Overriding that is a complex issue - but one I feel we need to tackle...

 PHOTO CREDIT: Unsplash

AS soon as the New Year’s Day hangovers subside!

FEATURE: Outsiders, Inside: Great Alternative, Rock and Indie Albums from 2017

FEATURE:

 

Outsiders, Inside

PHOTO CREDIT: Unsplash

Great Alternative, Rock and Indie Albums from 2017

________

THEY might not accrue the same sort of hype and celebration…

PHOTO CREDIT: Unsplash

as the big names of the mainstream – but that is what makes these artists so good! I have been thinking about the best Indie, Rock and Alternative albums of the year: the sort of record that possesses more depth, intrigue and power than your average chart-bound offering.

Here are twelve records I recommend you add to your collection as soon as possible. They all bristle with energy, fascination and outsider-kick – from some of the best songwriters in music right now…

ALBUM COVERS: Getty Images

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The National - Sleep Well Beast

Release Date: 8th September

Label: 4AD

Critical Snapshot:

“Some will fault the National for not evolving their sound more radically, or speaking more explicitly to the political moment. But Sleep Well Beast is what it is: an emotional battlefield, beautifully drawn, familiar and true. Berninger voices a panicked, depressive insomniac who might be any of us, trying to hold it together while everything falls apart” – Rolling Stone

Stream the album here.

Manchester Orchestra - A Black Mile to the Surface

Release Date: 29th July

Label: Lorna Vista Recordings

Critical Snapshot:

“Manchester Orchestra have always been earnest, though; it’s just that, until now, they’ve been hamstrung by their own impulses. By consciously interrogating everything they do, they’ve created something that doesn’t need a condescending suffix to justify its existence. It’s a new high-water mark for the band, and one well worth the pain to reach” – Drowned in Sound

Stream the album here.

Julien Baker - Turn Out the Lights

Release Date: 27th October

Label: Matador Records

Critical Snapshot:

“…By the end of the album, she’s landed on another cluster of paradoxes: “I’m better off learning how to be/Living with demons I’ve/Mistaken for saints/If you keep it between us/I think they’re the same." The way she sings it, you’d believe she’s telling her secrets to you and you alone, all evidence to the contrary. You’d believe that loving your demons—not banishing them—might just be the secret to that evasive grace” – Pitchfork

Stream the album here.

Fleet Foxes- Crack-Up

Release Date: 16th June

Label: Nonesuch; Warner Bros.

Critical Snapshot:

“Ultimately, Crack-Up is an album about purpose, mutual support and reconciliation, nowhere better expressed than in “Third Of May/Odaigahara”, the complex, nine-minute song quixotically chosen as the first single. The title refers to the Goya painting celebrating resistance to Napoleon; but it’s also, apparently, the birthday of Skyler Skjelset, Pecknold’s bandmate, co-producer and lifelong best friend, separation from whom has clearly triggered the undertow of betrayal and regret coursing beneath the album’s surface. “Aren’t we made to be crowded together, like leaves?” muses Pecknold over miasmic strings, pounding piano and guitar. It’s as if, trapped in the quicksand of fatalism, he’s urgently seeking resolution through the reflection of his life in others: “To be held within one’s self is deathlike, oh I know/But all will be, for mine and me, as we make it”. And as Crack-Up confirms, things often work out so much better when we work with others” – Independent

Stream the album here.

Robert Plant – Carry Fire

Release Date: 13th October

Label: Nonesuch Records Inc.

Critical Snapshot:

“Plucky folk ballad ‘Season’s Song’ stands out as one of the album’s highlights as well as acting as the perfect example of Plant’s intention on merging the traditional folk rock sensibilities with an epic orchestral landscape. This is a familiar trait that flows throughout the album, which acts as a melting pot of abstract ideas thrown together by Plant and his band, from the jangly African guitar lines of title track ‘Carry Fire’ to the more industrial rock and sonic experimentation of ‘Bluebirds Over The Mountain’.

While ‘Carry Fire’ showcases some of Plant’s best and most confessional lyricism, there’s no denying that this is an album that stands out most for its lusciously complex musical structures and influences, allowing for it to purvey an other-worldly quality” - Clash

Stream the album here.

The War on Drugs - A Deeper Understanding

Release Date: 25th August

Label: Atlantic Records

Critical Snapshot:

“…And that lack of articulation, that inability to identify the source of pain and the path to redemption, becomes another of the record’s themes. But all that happens beneath the surface, almost subliminally; it’s the impossible sweep and grandeur of the music that tells the real story, of how a rush of sound can take us somewhere we can’t explain” – Pitchfork

Stream the album here.

Phoebe Bridgers - Stranger in the Alps

Release Date: 14th September

Label: Dead Oceans

Critical Snapshot:

“There’s a ghostly quality from the opening note of Smoke Signals which grabs the attention straight from the start. Like many of Bridgers’ songs, it’s a hushed, contemplative ballad with the singer’s world-weary voice reflecting on the deaths of David Bowie and Lemmy, before namechecking The Smiths song How Soon Is Now. It’s the sort of song that pulls you into an album and demands, in its own very quiet way, that you hear some more” - musicOMH

Stream the album here.

Perfume Genius - No Shape

Release Date: 5th May

Label: Matador Records

Critical Snapshot:

“The “holy shit” factor of Perfume Genius has just shifted locus, then, from Hadreas’s reportage to his art as a whole. On Perfume Genius’s debut, Learning, we had Mr Peterson, a song in which Hadreas’s teacher takes advantage of him and then jumps off a building. Here, we have Hadreas’s desire to transcend his body and self – the no shape of the title – and glorious, inventive, shape-shifting music to match” – The Guardian

Stream the album here.

The Afghan Whigs – In Spades

Release Date: 5th May

Label: Sub Pop

Critical Snapshot:

“It’s worth remarking that, in the years between the Whigs’ breakup and reformation, no one could fill the void they left. Do to the Beast left me doubting that even they could do it anymore, but In Spades is a fitting rebuke to that infidelity. I still hold out hope of hearing McCollum’s guitar on an Afghan Whigs album again, but maybe I’m being overly sentimental. Ultimately, this is the best thing Dulli has put his name to since Blackberry Belle. One look at his discography over the intervening period will confirm just how good that is” – Drowned in Sound

Stream the album here.

The Horrors - V

Release Date: 22nd September

Label:  Caroline Distribution

Critical Snapshot:

“V isn’t a huge reinvention, more a subtle reboot, and a move which has worked out perfectly. The Horrors are hardly new to making brilliant albums - they did that with their previous three - but V is better than them all” – The Line of Best Fit

Stream the album here.

Wolf Alice – Visions of a Life

Release Date: 29th September

Label: Dirty Hit

Critical Snapshot:

“Rosewell (Ellie) favors melodies that feel like shouts even when they're whispers. She grapples with a predatory world that steals happiness and loved ones, and creates demands from within and without. Attention wanders during the wizardy fingerpicking of "After the Zero Hour," but production from Beck bassist Justin Meldal-Johnsen ups the focus throughout, even on the seven-minute title track, which slips from Sabbath sludge into surging space rock and back again. This is music that merges raw physical pleasure and dreamscape explorations. The stakes are high, and the payoffs are real” – Rolling Stone

Stream the album here.

Queens of the Stone Age – Villains

Release Date: 25th August

Label: Matador Records

Critical Snapshot:

“Villains, this deep and danceable delight, ends with two searing six minute tracks: the razor-blade blues of the White Stripes-ish The Evil Has Landed, and a sunrise-of-the-ancients pop finalé called Villains Of Circumstance. These are songs that refuse to be crushed, rounding off a disco-rock album determined that the villains won’t win. Bowie’s gone, it says. Trump is here. Move. Now” – Classic Rock

Stream the album here.

FEATURE: Playing the Long Game… This Year’s Most Disappointing Albums

FEATURE:

 

Playing the Long Game…

PHOTO CREDIT: Unsplash

 This Year’s Most Disappointing Albums

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BLOGS and magazines are collating and marking out…

IN THIS PHOTO: Katy Perry/PHOTO CREDIT: Unsplash

the albums, songs and artists, they feel, have defined this year. I have seen some surprises and great albums that came out of nowhere; others that have worked their way into my subconscious; some that have hit me straight away – another brilliant year for music, on balance. There have been some records I was expecting big things from, however. When announcements were made – regarding the albums – I prepared myself for something special and impactful. The hard reality is that, when they got here, it was a bit like that computer console-shaped present that turned out to be an air purifier: the energy and happiness fade out and you are left a bit cold (albeit it with some very clear and purified air!). I have been looking at the thirteen albums I felt could have been better; were a little underwhelming – with a critical review that backs up my opinion…

ALBUM COVER CREDITS: Getty Images

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Eminem – Revival

am a huge fan of Eminem’s classics – The Marshall Mathers LP riding highest in the mix in terms of albums – and realise he is one of the most dazzling and essential artists in music. His recent output has not been great so, when Revival was announced, I hoped its contents would live up to its title. Too many collaborations and a lack of real focus; lyrics not up to his genius-like standard and too many songs on the album (among the issues). There are some definite highs but Revival a record that could have done with stricter editing and wiser decisions – and more of the Eminem that struck the collective heart back in his heyday!

Release Date: 15th December

Labels: Interscope; Aftermath; Shady

Critical Snapshot:

“There are just too many pop stars here (Pink, Beyoncé, Kehlani) wailing anodyne hooks over glutinous beats. Perhaps the biggest problem with Revival – as with many latterday Eminem records – is the struggle of an intelligent fortysomething artist to evolve while somehow remaining true to the demands of his sniggery core audience of alienated males, one he knows he shares with Trump. Listening to Eminem trying to square this circle, it’s just one face palm after another” – The Guardian

Standout: Offended

Björk - Utopia

There are few people out there who have as much love for Björk as I do – I even wrote a piece stating Utopia (before it was released) would be the most important-album of this year. It is a gorgeous, mature and great record but one that takes a lot of time to seep in and compel. I was expecting more fire and innovation – some energy that recalled her earliest days – but the overall vibe is one of soothe, love and personal revelation. There are few of the fireworks and odd touches that have defined her legacy and potency. It is an album that, like a butterfly hibernating for winter, will reveal its true nature and colours in the weeks/months to come, perhaps.

Release Date: 24th November

Label: One Little Indian Records

Critical Snapshot:

“Simultaneously beautiful and befuddling, dazzling and irritating, Utopia has something of Stravinsky or Stockhausen about it. On some level, it may be a work of brilliance, but I suspect it is too far adrift from the rest of pop culture to appeal to anyone but a Björk devotee. If you can dance to it, you have bendier limbs than I. And it's hard to imagine anyone singing along – perhaps not even Björk herself” – The Daily Telegraph

Standout: Future Forever

Arcade Fire – Everything Now

This was a record I was SURE would be a big hit. I was fooled and excited by some early, pre-release albums that were five-star droolers. I heard the title-track and felt it was business as usual for the Canadian band. When the record was unveiled, and I heard all the songs, it seemed I was premature! Its best moments – Everything Now and Put Your Money on Me – are outweighed by some of the worst material they have recorded to date (Creature Comfort, Signs of Life; Chemistry and Peter Pan among them!). No song hits the heady seduce of Reflektor eponymous cut: nothing gets within spitting-distance of Neon Bible or The Suburbs, for instance. I admire the band for experimenting and adding new substances to the mix but, like Chemistry, it is an experiment that has blown up in their faces.

Release Date: 28th July

Labels: Sono Vox; Columbia

Critical Snapshot:

“It's one of the album's strongest moments, matched by "Electric Blue," in which Regine Chassagne's delicate voice floats over a wistful yet hypnotic electro groove…

Much of the rest struggles to stay buoyant. On "Signs of Life," Butler raps awkwardly about increasingly empty nightlife rituals over syncopated handclaps, a thumping house kick drum and a rubbery Tim Kingsbury bass line. "Chemistry" flirts with horn-peppered dancehall reggae but never quite achieves lift-off. "Good God Damn" splashes around in slow, would-be funk and both versions of "Infinite Content" — one punky and distorted, the other slow and countryish — feel like sketches rather than finished songs. "We Don't Deserve Love" ends the album with a whimper. "Just burn it all down," Butler sings, "and bring the ashes to me" - Chicago Tribune

Standout: Put Your Money on Me

LCD Soundsystem - american dream

Did american dream (the lower-case is how it is stylised by LCD Soundsystem) mark a ‘return’ of LCD Soundsystem or awakening from hibernation?! However you view the relaunch of James Murphy’s outfit; american dream, to be fair, has resounded with critics and, largely, been met with positive reviews. It is, with me, the same case as Björk: I am a fan and loyal supporter but was expecting something a little different. call the police, american dream and emotional haircut display the sharpest wit, instinct and intuition of Murphy and are definite highlights. I found nothing else on the album that hit the same peaks. black screen, the twelve-minutes-plus finale, is not captivating enough to demand focused attention whilst opener oh baby could have been moved down the pack – one would think american dream (the song) would be a perfect introduction?! It is, perhaps, a case of disappointment of expectation rather than quality. Given the seven-year wait since This Is Happening; I was expecting a little more – a bit too much, perhaps. It is a fine album – critics have been vacillating – but, to my tastes, a little shy of what we know LCD Soundsystem can achieve.

Release Date: 1st September

Label: DFA Records; Columbia

Critical Snapshot:

“…Too many tracks, however, suffer from a shortfall of melodic potency, and a lack of lateral development, especially in longer pieces such as the 12-minute sci-fi musings of “Black Screen” and the declamatory nine minutes of “How Do You Sleep?”. Both use puttering beats in cavernous spaces, with synths lowering from above, but for such marathons, there’s too little narrative: it’s all vertical, with sounds simply piled on top rather than providing narrative shape; and often, the journey just isn’t worth the destination”- Independent

Standout: emotional haircut

Gorillaz – Humanz

It has been a while since new Gorillaz music really hooked me in. 2010’s Plastic Beach had some incredible offerings but one needs to go back to 2005’s Demon Days to find a consistent and always-astonishing Gorillaz album. With Damon Albarn as a songwriter and contributor; no Gorillaz album could be deemed poor but, on Humanz, there were few songs that stayed in the memory. Whilst the overall sound and tone of the album elicits response: more songs on the same line as Andromeda would have been welcomed

Release Date: 28th April

Labels: Parlophone; Warner Bros. 

Critical Snapshot:

 “…All the masks and cameos aside, this still feels like a Damon Albarn solo project, a place for him to treat the studio like the welcoming arms of oblivion, and for us to join him” – Pitchfork

Standout: Andromeda

HAIM - Something to Tell You

The L.A.-based trio of sisters impressed critics with their 2013 debut, Days Are Gone. That record has the shine and swoon of Fleetwood Mac (and the same knack with melodies and vocals); it has plenty of sunshine and was one of the highlights of that year. Four years on and the sophomore release contains little of that ebullience and quality. There are some great songs on Something to Tell You – Want You Back is one of their best songs – but there are too many off-kilter noises, aimless melodies and songs that do not absorb into the skin. All this leads to a rather muddled and mixed album.

Release Date: 7th July

Label: Columbia Records

Critical Snapshot:

“Haim pairs ultra-smooth sounds with lyrics about love gone wrong that sound more than a little samey on the title track and "You Never Knew." And while Days Are Gone had hooks for days, this time Haim's songwriting just isn't as attention-getting; production flourishes such as the processed backing vocals on "Ready for You" and "Right Now"'s artfully rough guitars threaten to overpower the songs themselves. Moments like these add to the feeling that Haim are more focused on craft than excitement. The ways they refashioned vintage pop on Days Are Gone felt risky, but Something to Tell You offers safer, smaller pleasures” - AllMusic

Standout: Want You Back

Royal Blood – How Did We Get So Dark?

Among the great Rock and Alternative records of the year (IDLES, with tinges of Punk on Brutalism, have crafted a classic) there have been some underwhelming and damp efforts – I will come to another one soon enough. I have not included U2’s maligned album, Songs of Experience, but it has not been a reliable one for Rock. Royal Blood’s second album came after a three-year wait and did not provide any distinction from their eponymous debut – aside from a few Pop harmonies here and there, perhaps. A duo who are lauded as a touring act, one thinks, would do more to evolve their sound and continue to fascinate and amaze. The fact they replicated their debut – which was not exactly world-class and ground-breaking – means it is a huge missed opportunity from the Brighton twosome. Let’s hope the guys learn a lesson for album number-three!

Release Date: 16th June

Label: Warner Bros. Records

Critical Snapshot:

“In summary, this is an album which is trying to be lots of things for lots of people. The sadness being that where Royal Blood appealed to so many because of its abandoned musicality and aggression, How Did We Get So Dark? may run the risk of losing its soul and beating heart in order to please the masses. It will be interesting to see where Royal Blood go from here” – Drowned in Sound

Standout: Lights Out

Beck - Colors

I am not expecting – like a lot of critics and fans – for Beck to return to the genre-fusing, kaleidoscopic pioneer of Odelay! Many expect artists like Beck to preserve themselves in liquid nitrogen and remain a Peter Pan-like presence. Colors is a natural evolution but one that aims too hard for the mainstream. Produced alongside Greg Kurstin and Cole M.G.N.; there is a lot of trial-and-error and patchy (disorganized) quilt-work. It is a big, shiny record that aims to replicate the energy and excitement (Beck felt) on the road – the songs, however, lack great nuance and memorability. Dear Life, that said, is one of the best songs of the year: sadly; the remainder of the album does not hit the same (giddy) peaks...

Release Date: 13th October

Label: Capitol

Critical Snapshot:

“At times, it seems as though Beck is grasping at something, anything, to add conflict and tension to this rather effusive album. But all he comes up with are the most well-worn of sentimental platitudes, as in the tropical-inflected “No Distraction,” where he vaguely refers to “what we went through” and “everything that I know went wrong.” In giving no concrete shape to genuine obstacles that he feels he’s had to overcome, Beck fails to give his euphoric, outsized sense of liberation much emotional heft” – Slant Magazine

Standout: Dear Life

Foo Fighters – Concrete and Gold

Another Greg Kurstin-produced muddle – the man does know how to helm some brilliant records, mind! - and signs of a band struggling to breathe new life into their music. Concrete and Gold’s uninspired, lazy title is reflected in the music that does not do justice to the potential and talent of the band. For every fired-up bomb like Run there are forgettable cuts like La Dee Da and Sunday Rain. I was hopeful of a sort of return-to-glory from Dave Grohl’s crew but, like 2014’s Sonic Highways, it is an unremarkable album – in a year when we need Rock idols to step up and lead the way.

Release Date: 15th September

Label: Roswell Records

Critical Snapshot:

“…But Grohl’s music has cried out for, well, coloring and shaping for so long that it matter more that he’s finally sculpted an objet d’art, rather than Another Foo Fighters album. More than just about anyone in the genre, he’s free financially and creatively to do anything he wants. Maybe next time he’ll sing something political — In Your Honor was about campaigning for John Kerry, not that you’d know from listening to it. Maybe he’ll even sing something controversial. It’s about time the guy took a risk” – Consequence of Sound

Standout: The Sky Is a Neighborhood

Katy Perry – Witness

Many might scratch their heads and wonder why I’d include a Katy Perry album in a feature that expressed mild disappointment – contrasted against high expectations and hopes! It is less a reflection on my desires but that of the mainstream: one of its strongest and most-inspiring stars should be producing epic, solid work. Perry has crafted exceptional music in the past – 2010’s Teenage Dream had its highlights – but Witness is an album produced by a singer-songwriter at the end of her creative avenue. There are none of the bangers and chart-ready songs that made her such a star. Sure; there is that big production and energy a-plenty but none of the songs remain in the imagination and will add anything new for her loyal fanbase – who might flock the way of Taylor Swift for new guidance and inspiration!

Release Date: 9th June

Label: Capitol

Critical Snapshot:

“For about half of Witness, Perry appears to be striving for meaning at the expense of catchy choruses. On the other half, it is as if she has lost her nerve and been persuaded to sing choruses that have no meaning. Witness is the sound of someone trying to cover too many bases. Perry has probably done enough to keep the box office machine rolling but it might be time for her to shrink her budget and make that little arty offering that really comes from the heart” – The Daily Telegraph

Standout: Swish Swish

The Jesus and Mary Chain - Damage and Joy

Another established band I hoped would bring some magic and quality to 2017 – that failed to materialise in The Jesus and Mary Chain’s Damage and Joy. Those enamoured of the band’s unique charms and dynamics will not balk: their latest record does not stray too far from a familiar path and contains songs many will already be familiar with. Maybe that is where the split comes: anyone (like me) asking the Scottish band to progress and deviate are short-changed; fans will bond with the business-as-normal sounds. There are some pleasant highs from The Jesus and Mary Chain’s 2017-work but I was not motivated to come back to any of the album’s tracks – it all feels a little plodding, predictable and routine.

Release Date: 24th March

Label: Artificial Plastic

Critical Snapshot:

“Also, any Mary Chain follower will be grateful to hear a new batch of downer-pop from the Brothers Reid just as they’ll be relieved at their ability to reconcile (unlike another former Band of Brothers). “War on Peace” features a blazing, arena-ready uptick in percussion and a chorus of “ooooh, ohhhhh”s, and it’s a pleasure to hear the long-missing Ferreira sing “Yeah, it’s just a bitchhhh” on the prettily dour “Black and Blues.” It’s all very nice. But that’s all it is: nice. The Mary Chain never moves beyond that in terms of lyricism or arrangement. The lack of any real verve on Damage and Joy actually makes their I’ll-be-replaced fears on “Amputation” something of a self-fulfilling prophecy” - Paste

Standout: The Two of Us

Morrissey - Low in High School

His latest scandal – there have been so many over the years – surrounding comments made to a German newspaper about reviled figures Kevin Spacey and Harvey Weinstein have seen many raise eyebrows in the direction of Morrissey – wondering if he should keep his opinions to himself! One could forgive a certain carelessness if the music is stunning and on-point, Morrissey’s latest record, Low in High School, does not hit the same strides as Years of Refusal (2009) and Ringleader of the Tormentors (2006). There is, mind, a few choice cuts that remind us of what Moz can do – Spent the Day in Bed, I Wish You Lonely and All the Young People Must Fall in Love are exceptional and hint at what the album could have been. Directionless anger, overly-suffocating snide and a lack of killer tunes (aside from the aforementioned) mean for all the build-up and promise: Low in High School is a misfire that should see Morrissey banished to the ‘naughty step’!

Release Date: 17th November

Label: BMG Rights Management (UK) Limited

Critical Snapshot:

“‘The Girl From Tel Aviv Who Wouldn’t Kneel’ is an unbearable cha-cha-cha; ‘Who Will Protect Us From The Police?’ is lumpen electro; and least listenable track ‘Israel’ sees him deliver political polemic via the dubious medium of a piano ballad. Moz has become pop’s greatest troll in recent years, and here he’s exhaustive in goading you to hit the ‘off’ button. It’s enough to make you put your head in your hands. Or, indeed, your lap” - NME

Standout: Spent the Day in Bed

alt-J - RELAXER

I may be slightly biased when I say I have never really been a fan of the Leeds band: this lack of excitement is based on quality (lacking) rather than expectation. The boys of alt-J have always been synonymous with experimentation, big, sweeping songs and sound unlike anything else out there. Unfortunately, on their third outing, they sound too much like themselves: a group still lacking any solid identity. Despite RELAXER being nominated for a Mercury Music Prize – their second nod – it is a record that has only a couple of great tracks in the batch (Deadcrush and In Cold Blood are worth closer inspection). Maybe their music is reserved for particular tastes and clans but I was genuinely ready to love and absorb the album – I was left a bit deflated and apathetic.

Release Date: 2nd June

Label: Infectious; Atlantic

Critical Snapshot:

“It would have been easy for Alt-J to continue making albums that followed a standard pattern, and in that regard, Relaxer represents ambition and a willingness to take chances. The downside is that it finds the band in a state of confusion, pulled in all directions and sacrificing a sense of cohesion. Alt-J’s first two records were built off of their comparisons, and on Relaxer they work to forge their own identity. They just haven’t figure out what that is yet” – Consequence of Sound

Standout: Deadcrush

FEATURE: The Hollywood Playlist

FEATURE:

ALL PHOTOS: Unsplash

The Hollywood Playlist

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THIS year has been a mixed one…

with regards Hollywood and the film industry. There have been the controversies and scandals; directors, actors and film figures being put under the spotlight. Against the tarnish and dirt has been a busy and productive one for Hollywood. Later this year/next I will write about the link between celluloid and vinyl: the way music is interweaved into film and is an integral part. I have compiled a Hollywood-themed playlist that looks at classic films and directors; L.A. and interpretations of its lure; a few songs from this year’s best film soundtrack, Baby Driver; the glitz of fame and the downsides of the business; songs inspired by various actors (John Wayne gets two nods!). It is a comprehensive soundtrack that should please the most ardent and dedicated…

FILM fan out there. 

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FEATURE: Treasure-Gripping, Guilt-Tripping: The Discovery of Older Music…and Why There Are No 'Guilty Pleasures'

FEATURE:

 

Treasure-Gripping, Guilt-Tripping

ALL PHOTOS (unless credited otherwise): Unsplash

The Discovery of Older Music…and Why There Are No 'Guilty Pleasures'

________

AT this point in the year…

we are inundated, by the music press, with their favourites of the year. I guess I have been culpable, too: all my choice albums, videos and artists have been presented for your delectation. With that, as they collate 2017’s finest, we get a nod to those artists who will make breaks next year – I have made my predictions and written a multi-part feature with the competitors we should be aware of next year. In 2018; I will look at new topics, expand the blog and make a general push towards something multimedia and diversified. Writing is rewarding but the desire to get the site video-capable and more interactive is top of my mind. As I future-ready myself; there is always that curiosity regarding older sounds. I have looked at this before – pieces that examined whether older music is better than new stuff – but, motivated by an idea that was mooted on BBC Radio 6 Music; I have been thinking back and whether, as we are showered with new music and current commendation, our thoughts should consider where music came from. I am always amazed by certain people saying they have discovered a song/artist/album they have not heard before. Even though that person is not mega-young – twenties and thirties – they are connecting with artists many of us are already familiar with.

IN THIS PHOTO: David Bowie/PHOTO CREDIT: Gavid Evans/Sotheby's Press Office

Some people I know have just turned onto Steely Dan, Tears for Fears and Talking Heads – bands from the 1970s and 1980s who have been kicking around a fair bit. It is hard discovering all the music that has come before but there is that pleasure and sense of discovery when we hear a song that is fresh to the ears – but was made years/decades ago. I have been discovering new (to me) stuff by Ramones – albums like Rocket to Russia. I am aware of the band, of course, but it is only this year I have been stepping back and investigating their rich catalogue of work. The same is true of David Bowie. I am a fan but there are albums of his – his less-well-known – that have struck the ear and given me a new appreciation! Of course; it is not only albums from established artists I have been finding: I have found artists others have been raving about for years that were foreign to my ears! Talk Talk and Can are two acts I had not really known about prior to this year. Naturally, I was aware of their name and legacy and, whilst they are very different in terms of music and legacy; it has been revelatory finding these musicians! I guess, unless you regularly listen to a station that plays a blend of new and old, you are likely to discover well-known artists after everyone else.

IN THIS PHOTO: Talk Talk/PHOTO CREDIT: Getty Images

Alongside these bands; I have latched onto some great female artists from the 1980s; brilliant 1990s Dance – I thought I had the decade covered! – and pioneering Rock ‘n’ Roll from the 1950s. I like to consider myself pretty cultured and thorough so it has been a surprise finding artists that have escaped my gaze all these years. It is not unusual but, as I said, the sensation of finding that artist – looking back at all their work and ‘catching up’, as it were – is fantastic. Many others are in the same position but I wonder whether, instead of stumbling on music so long after the fact, there is something inherently disconnected in the radio/streaming networks. I understand why, in the case of the BBC, there have to be different-numbered radio stations? They have an option that plays mostly mainstream music for younger listeners (Radio 1); mostly older sounds mixed with chart sounds (Radio 2); Classical recordings on Radio 3 whereas BBC Radio 6 Music provides that new and old – none of the naff chart songs and drivel other stations salivate over. I always listen to the latter but wondered whether there are artists being played on BBC Radio 2 worth seeking out – that might not make it to my preferred option. I have mooted the possibility of, in some way, integrating the stations so the average listener gets a little bit of everything. I like Classical and Jazz but do not want to hear it a lot – the same can be said of modern chart songs.

That is not to say I’d prefer to be without them: a little of each of a day would be welcomed, for sure. I can understand the logistic nightmares – if one did create a new station – and it would be hard appealing to all ages and tastes but, as so many people are finding music years after release, I wonder if that signifies an issue. Is it better to not know about everything and make that chance discovery in 2017?! I always get annoyed when I miss out/have missed out on an artist but I appreciate those who like the mysteries and ever-giving nature of music. It is exciting having the mind opened to a band/artist that were once unborn – a new obsession or a song that nestles its way into the brain. Streaming, as I have suggested in other posts, is all about the here and now. Whilst sites like Spotify open its doors to music’s capacious cannon: one feels there is too much of an obsession with numbers, business and modern-made sounds. You go to the site and it is all about the latest big name and coolest tunes. 

PHOTO CREDIT: Getty Images

Like YouTube/SoundCloud; there are no detailed menus that break down music by genre, year…providing detailed schematics and algorithms. It is one of the frustrations and, when more and more want to connect with past sounds – why are there are no slick and easy mechanisms in place to find the gold of old?! It is interesting but, I guess, if one is given too much it robs that joy of happenstance and dumb luck! I wanted to talk about ‘the guilty pleasure’ as, to my mind, there is no such beast. I hear the term bandied about and it has been part of the musical lexicon since the first popular recordings. I have a soft-spot for those 1980s songs with big choruses, huge production…and titanic hair! I confess there are some dodgy songs from the decade that deserve nothing but scorn and derision. Tracks like Owner of a Lonely Heart (Yes) and You’re the Voice (John Farnham) are mid tracks from the early/mid-1980s and have survived the test of time. Even if you were not around then those songs first came out – I was, sad to say – they have a timelessness that means the mood is lifted and the voice compelled – songs you keep in the back pocket when you need a pick-me-up. I am a bit stuffy about the modern Pop charts but there are a few songs, now and then, I feel are worth time and energy. It can be embarrassing for someone expressing their tastes and likes and getting that sort of negative reaction. Music is a subjective thing and, whilst there is plenty of bad music, there is nothing that should be hidden and listened in secrecy.

IN THIS PHOTO: Kylie Minogue/PHOTO CREDIT: Getty Images

Maybe you like Kylie Minogue or Jazz; others might say it is a guilty pleasure – that does not mean you should stop listening to that music. A lot of that reaction comes from the critical opinion: if they think an artist/style of music is a bit tragic, that impacts negatively on others. You get D.J.s putting on special nights for ‘cheesy music’ – we all know the type of songs that would fall into that category – and that doesn’t really help. I have mentioned a couple of songs (from the 1980s) that could feature in those sets when, in reality, they are solid and impressive songs. There is nothing bad and wrong with those songs at all – and no reason they should be confined to cheese-only sets. I mentioned how music is subjective but how much personal exploration is being stunted by negative branding and this term ‘guilty pleasure’? I am a big fan of Beyoncé and, since her days leading Destiny’s Child, have been in awe of her creativity, reinvention and talent. Many, who know I listen to her, have turned their noses up. She is, to many, overly-commercial and processed; someone whose music appeals to a niche demographic. If this were true – which it isn’t – we shouldn’t judge other people’s tastes and think any sound is reserved for guilt and embarrassment.

IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Getty Images

Music is a broad church and, in the same way we should integrate stations and create a more visible market; we need to get out of the habit of branding certain types of music as uncool. Quality is a different objective and there are songs that are distinctly rotten – you should still be proud to listen to them but some will not share the same enthusiasm! Whether you love a good bit of 1980s Pop, some experimental Jazz or modern-day, British Hip-Hop – get involved and play it loud! I am getting less picky about my music tastes and, doing what I do, I have to have an open mind and accepting ethos. I will refuse some artists because their music is not to my tastes and preferences. That being said; I would never alienate any music and say people should be ashamed to like it. Music is a spectrum and community where differences are welcomed. If we all liked the same music then it will be a very boring and pointless scene. I like those songs that others snobbishly push away: I feel I hear something others don’t and have a finer sense of taste. I am searching my mind and wondering if there is anything that can be deemed a ‘guilty pleasure’. Even if you think something is a bit uncool – I am not partial to Taylor Swift or Cliff Richard, for instance – I would not judge others and say they have poor taste in music.

2018 is going to be about change and acceptance: altering bad practice and ensuring there is greater awareness of any problems that arise. That SHOULD be what happens but, until we get the ball rolling, there is no telling whether it will be better than this year. I am always campaigning streaming sites to make older music more visible and accessible to those who use the site – rather than promoting whatever is new and hip. I asked whether stumbling on an old album/song/artist was part of a frustrating compartmentalisation in the music industry or whether it was an inevitable result of the industry. It is getting fuller by the year and it can be hard nailing it all done and sorting it out. Having heard various people talk about the joy of finding an artist – that many of us already know about – and getting that surprise is good to hear. Maybe it is best not knowing/hearing everything and relying on the odd surprise here and there. It would be good to see stronger connections between the present and past; getting music from older artists put into the modern-day ears. As I have said; music is not a guilty pleasure that should be hidden and judged – everything has a purpose, worth and its place. Realising that, and keeping that truth to the chest as we head into a new year…

WILL make us all a bit richer.

FEATURE: If at First You Succeed… Incredible Debut Albums from 2017

FEATURE:

 

If at First You Succeed…

PHOTO CREDIT: Unsplash

Incredible Debut Albums from 2017

________

SOME artists can take an entire career…

IN THIS PHOTO: Loyle Carner/PHOTO CREDIT: Getty Images

to produce an album that gets critics humming and listeners flocking! If one considers all the best and most durable artists from music: how many of them cemented something terrific the first time out?! Even titans like Radiohead and The Beatles (random names, I know!) didn’t hit their peak until a few albums in – later, in the case of The Beatles! It is hard putting out the debut album because it is the first offering and you are never sure what the public will think – and whether it will resound with the critics. Those who manage to create a great and solid debut album have a lot of pressure taken off...and get straight into the collective bosom.

2017 has seen some terrific introductory L.P.s from artists we will hear a lot more of through next year (and beyond)! These are the ten debut albums that have helped make 2017 a stunning and eclectic year for music…

ALBUM COVER CREDITS: Getty Images

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Sundara Karma - Youth Is Only Ever Fun in Retrospect

Release Date: 6th January

Label: RCA Records

Critical Snapshot:

“Youth is Only Ever Fun in Retrospect doesn't quite match The 1975's I Like It When You Sleep For You Are So Beautiful, Yet So Unaware Of It in terms of ridiculously long album titles, but the Reading four-piece have taken a good shot at matching it in terms of hooks. Dubbed a 'band in waiting' by various outlets, Sundara Karma have filled their debut to the brim with hit after hit; it's hard to know where to begin” – The Line of Best Fit

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The Big Moon - Love in the 4th Dimension

Release Date: 7th April

Label: Columbia Records

Critical Snapshot:

“The smouldering heart of ‘Love In the 4th Dimension’ arrives in the orange-licked shape of ‘Bonfire’; an almighty flame-singed anthem obsessed pursuing the secrets to fire-starting to escape boredom. “Show me how your fingers got in all those pies, I’ll never go away,” urges Jules, presumably hammering down the doors to The 4th Dimension and letting loose wolf-like howls. On all the evidence here, The Big Moon have succeeded in unearthing the secret to a fire debut” - DIY

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Sampha – Process

Release Date: 3rd February

Label: Young Turks

Critical Snapshot:

“Nothing feels in thrall to current trends in R&B, either sonically or emotionally: Sisay may have been a constant, quiet presence on other people’s records last year, but Process doesn’t sound much like any of them. Instead, it’s a weighty, powerful album with an identity entirely of its own. And while clearly not constructed with commercial ambition at the forefront of its mind, it’s certainly good enough to make an unlikely star of the man behind it” – The Guardian

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The Moonlandingz - Interplanetary Class Classics

Release Date: 24th March

Label: Chimera Records

Critical Snapshot:

“The most immediate moments might come when Saoudi – sorry, Johnny Rocket – unleashes his ghoulish Nick Cave impression, but there’s variety here, too. Downbeat moody duet ‘The Strangle Of Anna’ is ostensibly The Velvet Underground’s ‘I’ll Be Your Mirror’ given a contemporary spin It ends with the unlikely pairing of The Human League’s Phil Oakey and Yoko Ono howling on a cosmic six-minute electronic-prog wig-out ‘The Cities Undone’. You couldn’t make it up. Accept, well, The Moonlandingz just have” – NME

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Stormzy – Gang Signs & Prayer

Release Date: 24th February

Label: #Merky Records

Critical Snapshot:

“Overall, Gang Signs & Prayer is a daring debut. Stormzy could have played it safe with this album, but rather challenged himself with gospel. A key factor about this album is the complexities to Stormzy’s character—displaying a multi-dimensional black British man who goes against a simplified image that’s usually portrayed. Balance makes this album beautiful, as Stormzy worships on "Blinded by Your Grace Pt 1 & 2," falls in love on "Velvet" and raps his socks off on "Cold." Gang Signs & Prayer is a multi-faceted masterpiece and a testament to Stormzy’s talent that warrants his phenomenal rise to the top” – Independent

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SZA – Ctrl

Release Date: 9th June

Label: Top Dawg Entertainment

Critical Snapshot:

“People will go to extremes to absolve themselves of judgment, whether it’s for liking something as benign as “The Bachelor” or by mining the depths of psychology to determine that breaking someone’s heart was somehow just an act of radical self-care. SZA has the grit to say that it doesn’t just feel shitty, it is shitty. She is in touch with love’s fragilities and understands that it is worth protecting, there is just a lot of tireless work to get it. The record is all the more beautiful for it” - Pitchfork

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IDLES – Brutalism

Release Date: 10th March

Label: Balley Records

Critical Snapshot:

“Meanwhile, the band are impossibly tight, offering an onslaught that pitches itself somewhere alongside the sensory overload of Girl Band or Hookworms. From its loping beat upwards, few songs in recent memory have encapsulated smalltown boredom as perfectly bluntly as ‘Exeter’, one of the album’s rare pauses for breath. Otherwise, the rough edges and lack of nuance here are entirely the point. The government may be eager to get rid of the architecture that gives the album its name, but Idles have offered a ‘Brutalism’ that demolishes back” – Loud and Quiet

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Prophets of Rage – Prophets of Rage

Release Date: 15th September

Labels: Fantasy; Caroline

Critical Snapshot:

“Music has both the ability to reflect and transform the times,” stated Morello in early press about their new album. It's clear that in a time where it's more important than ever for people to have a voice, the band has solidified what theirs is and are ready to rally for what they believe, all against the backdrop of some at times aggressive and at times funky sounds. Time will tell if they're able to "transform the times," but Prophets of Rage are doing their best to rage against the machine for as long as it takes” – Loudwire

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Nick Hakim - Green Twins

Release Date: 19th May

Label: ATO Records

Critical Snapshot:

“Most of the songs evoke some combination of obsession, rapture, gratitude, and anguish. The whirling title track, spaced-out "Bet She Looks Like You," and easy rolling "Cuffed," all exemplary, indicate the profound effect of a committed relationship. The impact is conveyed in open-hearted lines like "I admit -- inside me lives fear," "If there's a god, I wonder what she looks like/I bet she looks like you," and "She taught me to make love with patience." The album's potent mix of soul-searching lyrics and spaced-out sonics lends itself to deep thought and accompanied stargazing” – Allmusic

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Loyle Carner – Yesterday’s Gone

Release Date: 20th January

Label: EMI

Critical Snapshot:

“Mostly though, this is an album which celebrates the love of family – there’s an incredibly touching bit in Sun Of Jean where Carner’s mother appears again reciting a poem she’s written about her son, and the pride in her voice is palpable. As should be the case: yesterday may be gone, but the future of UK hip-hop belongs to this man” - musicOMH

Stream the album here.