FEATURE: The Shame on You: Why Spotify Streaming Records and Music Statistics Paint a False Picture Regarding Gender and True Quality

FEATURE:

 

 

The Shame on You

IN THIS PHOTO: Ed Sheeran/PHOTO CREDIT: Getty Images 

Why Spotify Streaming Records and Music Statistics Paint a False Picture Regarding Gender and True Quality

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ONE of the biggest curses in music…

 PHOTO CREDIT: @dotgrid/Unsplash

is how numbers-obsessed and focused it is! It seems, as opposed any other form of quantification and definition; numbers and statistics dictate what constitutes ‘good’ music. Every time you go onto a site like YouTube or Spotify; there are those streaming numbers and you feel like you are watching a company’s accounts being opened rather than listening to music! The same is true when you look at statistics being put out into the world – I shall concentrate on that more later. I am  huge advocate of gender-equality and rights in music. I can see there is a divide out there in many areas but you can never genuinely claim there is a gulf in terms of quality. A worrying report came out regarding Spotify and the most-streamed artists of the past decade:

“Spotify has revealed the most-streamed artists in the platform’s 10-year history. Drake, followed by Ed Sheeran and Eminem lead its rankings – while Rihanna and Ariana Grande are the only women in its top 10 list.

The streaming giant, which launched in Sweden, the UK, France, Spain and Norway in October 2008, has also listed its users’ favourite songs and albums. It named Sheeran’s 2017 single Shape of You as its most-played track. Sheeran’s 2014 single Thinking Out Loud also features, in fifth place. Drake’s 2016 single One Dance comes second, while the Chainsmokers’ Closer, also released in 2016, comes in third.

Justin Bieber effectively has three tracks in the top 10. He features on Luis Fonsi and Daddy Yankee’s 2017 Despacito remix (coming in at 7), and as a solo artist with Love Yourself (8) and Sorry (9).

No female artists have songs in the top 10, however Rihanna became the first artist to reach 1bn streams on Spotify, in 2013. She is the most-streamed female artist globally, followed by Ariana Grande and Sia. Adele and Taylor Swift’s initial resistance to putting their music on Spotify may have contributed to their respective placings at six and seven”.

 IN THIS PHOTO: Halsey/PHOTO CREDIT: Jenn Five for NME

I do wonder how damaging streaming figures and these sort of reports are. On the one hand, you do wonder why it is so male-dominated and how come fewer female artists are being promoted and backed?! Great current artists like Halsey and Dua Lipa are popular and write great music but they are struggling against the more commercial artists – it seems men are still dominating when it comes to streaming statistics. This, as the article continues, is a big problem that is not exactly new:

“The lack of women on Spotify’s 10-year streaming charts correlates with recent research by Baffler critic Liz Pelly, who found the platform’s “most popular and visible playlists to be staggeringly male-dominated”.

Spotify’s high-profile editorial playlists are immensely powerful. A high placement on a playlist such as Rap Caviar or New Music Friday can change a song’s fortunes. Playlist culture has also changed song structure, with verses and choruses hitting sooner to avoid being skipped by listeners.

Pelly concluded that the platform’s algorithmic recommendations meant that “when a user listens to mostly male-dominated playlists, what is produced are yet more male-dominated playlists”.

Whilst there is pull and power associated with playlists and what is being streamed on Spotify; I do wonder whether this pointless numbers game blurs lines. You can look at the report and, rightfully, detect there is sexism and an imbalance that suggests male artists are being promoted too heavily or consumers are being directed to music created by men.

It is shocking to see but it does not really tell the real story. I have mentioned a couple of female artists who are currently popular but, in truth, look at some of this year’s best albums and you will see some serious female talent behind them. From Kali Uchii and Kacey Musgraves to Christine and the Queens to Florence and the Machine; look at Courtney Barnett and Mitski and gander Anna Calvi and Cardi B. That is just a few names who are jostling to be among the very best from this year – their albums have enflamed and engrossed; they are seriously awesome and have, in my mind, created music more stirring and impactful than their male peers. It seems there is that assumption that streaming figures equates to quality. I am not sure how male artists are marketed and why they are outstripping women but you can certainly not claim quality is the reason. Again; maybe someone like Ed Sheeran has a bigger fanbase or his music is more digestible. He is not taxing on the brain and, in a lot of ways, his audience are attracted to him as a person as opposed his music. Drake and Eminem are in the top-ten of the most-streamed but, again, one needs to look at why Hip-Hop artists are trending more and why they are promoted more fervently. 

 IN THIS PHOTO: Drake/PHOTO CREDIT: Getty Images

I am not saying their music lacks validity and quality but I look at artists like Drake and Ed Sheeran and then match them against, say, Christine and the Queens and Janelle Monáe. If you did a track/album-by-album comparison I am pretty sure, in terms of reviews and consistency, you would see the victory going to the female artists. That might sound random and specious but Spotify records and figures do not correlate to quality and talent. It might be frustrating to learn that the more talented female artists are overlooked why more mainstream and Spotify-friendly artists are being heralded and highlighted! Artists like Rihanna are making a charge but you wonder why the likes of Beyoncé and Taylor Swift did not crack the top-ten! The former, especially, has been producing exceptional, groundbreaking music since Spotify began and, for me, has been much more consistent and surprising than Eminem and Ed Sheeran. You look at any measure of artistic strength and quality and, in every case, I can find female artists who can easily overtake and replace those male artists in the chart. What bugs me is how much importance is placed on streaming figures and followers. I get a lot of requests for interviews and so many P.R. companies put Instagram, Twitter and Facebook followers in there – as if that should bowl me over and wow me! New artists are not allowed the same luxuries when it comes to popularity and many artists cannot get their music featured on Spotify. There are so many factors that skew reality and highlight this gender divide.

 IN THIS PHOTO: Rihanna/PHOTO CREDIT: Mert Alas and Marcus Piggott/Vogue

It is great you have a sense of popularity and appeal but numbers do not mean quality or promise. So many artists who have millions of followers and break streaming records do so because they are cool, fashionable and hot. Maybe their music appeals to a certain demographic who is more concerned with hooky choruses and generic lyrics. So much of music, now, is based on how many streams you get and how many playlists you can get your music on! Sure; there are female artists who are as commercial and unchallenging as the most-streamed men but you have to wonder why they are not receiving kudos. I am not a big fan of Taylor Swift, Katy Perry or Dua Lipa – or someone like Rihanna and Jess Glynne – but they write music that has its market and, look at YouTube and the sort of figures they pull in and you wonder why that does not translate to Spotify! One feels playlists and their sway is muddying the waters and creating an imbalance. I feel there is sexism at work but many might, naively, assume the men in that most-streamed list are there because they are superior. There are articles like this that gather women’s voices and showcase the fact there is sexism in the industry.

 PHOTO CREDIT: @tompottiger/Unsplash

I was reading an article from earlier this year that looked back at 2017 and the disparity between men and women – how many men were credited when it came to big hits and how few women there were in the industry:

“After researching the lack of diversity in Hollywood, the Annenberg Inclusion Initiative, the leading global think tank studying issues of inclusion across entertainment mediums, has set its sights on the music world. The USC Annenberg School for Communication and Journalism division just released its inaugural report on inclusion in popular music and the results reveal that just like in the film and television industry, there is a strong need for more females in the music industry.

The report showed that:

In 2017, 83.2% of artists were men and only 16.8% were women.

2017 marked a six-year low for female artists in popular content

Of 2,767 songwriters credited, 87.7% were male and 12.3% were female.

73.8% of female songwriters only worked once in 6 years, 7.9% worked twice, and 4.3 percent worked three times. Less than 6% of female songwriters had 6 or more credits across the sampled time frame.

Nine male songwriters were responsible for 1/5 of the songs in the sample.

Out of the study’s 651 producers, 98% were male and only 2% female.

A total of 899 individuals were nominated for a Grammy Award between 2013 and 2018. 90.7% of those were male and 9.3% were female”.

 IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Getty Images

It makes for worrying reading but, again, we forget how many fantastic women there are in the industry and the sort of work they are putting out there. Beyoncé recently topped a poll conducted by Woman’s Hour that sought to find the most powerful women in music. We are seeing figures that show most top-forty songs are written by men and most producers are men. It seems all the sides of the industry are male-led and women are in the minority. I agree a lot needs to be done when it comes to employment and redressing the balance of producers/engineers etc. but my mind keeps coming back to this Spotify list. I think the most compelling and fantastic artists at the moment are women and yet, more and more, it is male artists you see promoted on the site. I am not sure whether there is a connection but how is a true balance across music going to happen when the world’s most-popular and talked-about platform for music are putting the men first?! We have these powerhouses like Beyoncé and artists like Halsey who speak out against injustices and make their voice heard. In terms of political and social awareness; female artists are much more potent and prolific; my favourite albums from this year, largely, have been created by women and I feel the Pop mainstream is seeing artists like Ed Sheeran being overtaken by Dua Lipa, Sigrid and their peers.

 IMAGE CREDIT: Spotify

In order to see some real change and improvement happen in the industry as a whole, we need to change the way platforms like Spotify do things and how much of a role playlists play. You go onto the site and most of the new playlists have men heading them up. I do not believe there are more men making music than women as a whole. There might be a slight advantage to the men but not as large as many suggest. Perhaps more girls are streaming than women and men so that is something that needs to be questioned. Talk to those buying albums and the non-preteen demographic and there will be a different picture painted. We are in a golden age for female songwriters and look at the mainstream and underground and I can see that revolution happening. I realise the Spotify top-ten looks back at the last decade but, again, fantastic female artists have been in the business since then and you get this misleading sense of popularity/quality. Is it true women market more to other women whereas men market to everyone? Perhaps that is true in terms of mainstream Pop but it is not the case with the wider market! Many might say this latest report is irrelevant and who really cares – so long as you support female musicians in your own way then that should be enough. I understand that but I also know how much power and influence Spotify holds and how the young generation are swayed by it. Their schematics and marketing needs to change, that is for sure.

PHOTO CREDIT: @brucemars/Unsplash

I am not saying a change at Spotify will lead to improvements regarding females headlining at festivals and getting more women into studios. I am fully aware of the sheer quality out there and how many world-class female producers, artists and songwriters there are. I would like to see THEIR voices and talent recognised and inspire future generations. Spotify’s most-streamed list would lead you to believe artists like Ed Sheeran and Drake are the best from the last decade but, if anything, they are the most consumable, marketed and easy on the mind. That appeals to a certain sect but it is taking so much away from so many extraordinary female artists who, if they were given the same props, would be able to affect real change in the industry. If we start looking at the way huge influencers like Spotify tabulate and promote their artists then the service can be amended to that it goes away from the commercial and chart-bound and reflects the true nature and brilliance of modern music. Statistics and streaming figures suggest men are dominating and hold the most power but when it comes to the most important thing of all, the music itself, I feel women are the ones…

 IN THIS PHOTO: Maggie Rogers (one of the most interesting and engaging voices in new, modern music)/PHOTO CREDIT: Jennifer McCord for DIY

WHO have the most powerful voices!

INTERVIEW: Dry Reef

INTERVIEW:

Dry Reef

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I have been setting time aside to speak with Dry Reef…

as they tell me about their new single, Start It Up. I ask what the story behind the song is and whether there will be more material coming along - their album, Daychange, is also out and a good chance to investigate the band in-full. I ask how the guys got together and what sort of music they were inspired by growing up – they recommend an approaching act to watch out for.

I wanted to know if there are any tour dates booked and which albums mean the most to them; how their music has evolved since the start and what Philadelphia is like as a base.

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

We are pretty excited, honestly. Our week has been busy but fun busy.

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

I'm Pat, bassist and vocalist; I'm Collin, lead guitarist; I'm Charles, guitarist and vocalist; I'm Joey and I play drums.

Start It Up is your new track. What is the story behind the song?

Start It Up is the first single we recorded for the album. It is mostly about a feeling of excitement for the future, while reminding ourselves to enjoy the present moment along the way instead of only focusing on the finish line. I try to put reminders in a lot of my songs in case I lose my way one day.

Will there be more material coming next year do you think?

We are absolutely coming out with new material next year. I think we all agree the most important part of all this is creating something new for everyone.

How did you all find one another and start Dry Reef?

Well. Collin gave me (Pat) my first guitar lesson in middle-school. In high-school, we started playing outdoor parties for our friends; then it was parties and venues in college and, when we realized we all had similar goals for our careers, we decided to really go for it in 2016 after college.

In terms of music; what did you all grow up around and idolise when young?

We came together as a band in high-school and played a lot of Classic-Rock and Reggae covers just for fun, so I guess that was a big influence. But, the more we grew together, the more we wanted to push ourselves musically. Pat began to love Post-Rock bands like Sigur Rós and Explosions in the Sky. Charles brought a Disco-Funk sound to the table; Joey loves Umphrey’s McGee even if he won't admit it and Collin just got so crazy-good at guitar - we were like, ‘alright; time to make something completely different than we've ever heard’.

What is Philadelphia like as a base? Is there a strong music scene there?

Philly is an amazing place to be a musician. There are some of the most unique and comfortable venues we have seen on the entire East Coast and all of the local artists look out for each other.

How do you think you have developed and evolved since the start of your career?

The biggest change since 2016 has been seeing a lot of our friends and family quit jobs because they are unfulfilled. Seeing that has made us so much more grateful to have a job that we don't want to quit and maybe one day we could even inspire others to find fulfilling careers.

What do you hope to achieve by the end of 2018?

We would love to get Joel Embiid in a music video, honestly.

Have you each got a favourite memory from your time in music so far – the one that sticks in the mind?

One time, we booked an Airbnb in Maine and the owner of the property was a fan of ours from our show the night before. They stocked the house with all sorts of extra goodies for us. It was a really cool moment for us to see our music reaching people and it felt like a reminder we were on the right path.

Which one album means the most to each of you would you say (and why)?

Pat: Take Care, Take Care, Take Care by Explosions in the Sky

It showed me how much energy can come from two guitars a bass and drums. No vocals, little production; just pure emotion and light. It's an album I listen to that grounds me in the present more than anything.

Collin: Wildflowers by Tom Petty

It came out the year I was born and I can remember my dad playing it constantly over the years. Petty became the first concert I ever saw and inspired me to learn music from an early age.

Charles: Axis: Bold as Love by The Jimi Hendrix Experience

It was the first album that really inspired me to get better at playing the guitar and to start writing my own songs. It also has one of the most iconic pieces of album artwork in music history.

Joey: Teen Dream by Beach House

I found this album when I had just finished high school and I had never heard something so ethereal and honest before. It was a time in my life when everything was changing, and it felt like this music could protect me from any harm.

If you could support any musician alive today, and choose your own rider, what would that entail?

Dr. Dog is an obvious pick for us. They are from Philadelphia and their sound is so wholesome and energetic. We really relate to their ability to create such a new form of Alternative-Rock. Their live show is a great time.

As for the rider…we'd love to have a baby goat to pet.

What advice would you give to new artists coming through?

I think we would say that nobody in the industry really knows what's going on right now. Everything is changing every single day and there is too much conflicting advice out there to keep your head straight. I think what the scene needs now is artists that do whatever feels right.

IN THIS PHOTO: Ritual Talk

Are there any new artists you recommend we check out?

Please check out Ritual Talk. They are a super-creative band from N.Y.C. with an airy, Synth-Pop sound.

Do you both get much time to chill away from music? How do you unwind?

We haven't needed to get away from music yet: it's where we are the most comfortable and we are so grateful every day to be able to be doing this.

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Blue Magic (Waikiki) - Son Little

6 Years - OddKidOut

Zebra - Beach House

Impossible Germany - Wilco

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Follow Dry Reef

Official:

https://www.dryreefband.com/

Facebook:

https://www.facebook.com/Dry.Reef/

Twitter:

https://twitter.com/dryreef

Instagram:

https://www.instagram.com/dryreef/

YouTube:

https://www.youtube.com/user/DryReef12/videos

INTERVIEW: Tom Leeb

INTERVIEW:

Tom Leeb

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THE fantastic Tom Leeb…

has been explaining the story behind his latest single, Are We Too Late, and discussing his E.P., Tom Leeb. I ask the songwriter which artists have influenced him and whether there are a few albums that mean a lot to him – Leeb talks about his plans going forward.

I wanted to know whether he has a favourite memory from his career so far and which sounds he grew up around; why he decided to follow Folk and which rising artists we need to keep an eye out for – he ends the interview by selecting a great song.

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

It’s been great. It’s had seven days and seven nights - just how I planned it!

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

I am a Pop-Folk singer-songwriter from France.

The video for Are We Too Late is out. What was it like creating that? Is it true you went out to Normandy to film it?

Filming this music video is the consecration of a lot of things…making it all happen; from writing the melody, to writing the words and making it sound original; true, sincere. Once you have all that, you then need images that elevates the music. Normandy was the right place for it.

Are you surprised by the success of the song and how many people have responded to it?!

Yes, very much so! I believe there is an audience for me out there in the world, but never have I thought it would be that big already, a few months after its release. I am feeling blessed!

Your eponymous E.P. is out. What sort of themes inspired the music on? Do you have a favourite cut from the collection?

The usual brokenhearted man that puts words over music. Joking! But, not joking. I had one love and one heartbreak; both of them two (lots of) six songs - my E.P.

How did you start in music? Were you raised around a lot of music?

My dad is a Jazz fan and has tons of C.D.s at his house and he used to play them a lot whilst I was growing up. From a young age, I was fed with music so I feel like I’ve always had it in my blood. I started music as a drummer and then, later, first picked up a guitar in N.Y.C. - where I was studying - in 2009.

Is there something about Folk music that attracted you? How come you took that direction?

I was blown away by a John Mayer performance back in my dorm room in 2009. It was a live version of the song, In Your Atmosphere, from the live album, Where the Light Is. Straight away, I knew this was the genre I wanted to explore with my own music!

What do you hope to achieve by the end of 2018?

I am more of a day-by-day kind of guy. I don’t usually look too far in to the future but I understand you’re interested in knowing my ambition. Well. My E.P. is the first honest piece of my life. I want to share it with people so that they can connect with the lyrics and/or the melody - that’s my goal for today, tomorrow and the end of 2018.

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

New York, 2011 I’m playing at an open mic night called The Underground; my girlfriend is here, with her phone out and getting it all on tape. There were musicians on stage in case a singer didn't play an instrument - or wanted to play a cover song - but I had my own instrument and didn’t want to play a cover.

I started singing solo; first verse, first chorus. Halfway through the song, all the musicians got it and joined me on second verse, as if it was all rehearsed. I’ll always remember the feeling of having a band joining me.

Which three albums mean the most to you would you say (and why)?

John Mayer - Continuum

The first album that inspired me in all ways.

Coldplay - Ghost Stories

Unreal. So deep and so melodious.

Bon Iver - Bon Iver

Incredible musician and songwriter. This album is so singular.

If you could support any musician alive today, and choose your own rider, what would that entail?

My friend and fellow Folk singer Hugo Barriol. He’s got something in his sound. Look him up!

What advice would you give to new artists coming through?

I am myself a new artist coming through, so I’m still learning everyday. I’d still tell my fellow artists to never stop dreaming and dream bigger. But, on top of all that, work. Hard. Practice every day for hours. Go from good, to very good to even better. Don’t ever compare. Do your thing.

Do you have tour dates coming up? Where can we catch you play?

I’m based in France for now. But, soon enough, I’ll be touring in Europe!

 PHOTO CREDIT: Hugo Barriol

Are there any new artists you recommend we check out?

Hugo Barriol; The Night Game; Melissa Bon.

 IN THIS PHOTO: Melissa Bon

Do you get much time to chill away from music? How do you unwind?

I don’t really: music is my therapy, my job but also my chill time.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Matt Corby - Wrong Man

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Follow Tom Leeb

PHOTO CREDIT: @nicolasburlot

Official:

http://tomleeb-music.com/

Facebook:

https://www.facebook.com/Tom.Leeb.Officiel/

Instagram:

https://www.instagram.com/tomleeb/

SoundCloud:

https://soundcloud.com/tomleeb

YouTube:

https://www.youtube.com/channel/UCDP4Z-V95n3GfMPJ4c1mcHQ

INTERVIEW: MAWD

INTERVIEW:

MAWD

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IT has been great spending time with MAWD…

as she tells me about her new track, Wandering Eye, and the rather quirky story behind it! She explains how health issues have affected her music and what she has planned coming up; which albums and artists have made the biggest impact on her – I ask whether the American artist will come to the U.K. and perform at any point.

MAWD talks to me about the music she grew up around and how she got that incredible, raw voice; if she has advice for artists coming through; which rising musicians we need to be aware of; what she hopes to achieve by the end of the year; if she gets time to chill outside of music – she picks a great song to end the interview with.

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

Hi, there! Well, the week has just begun for me (it's Monday... although, being a musician, what day even is the beginning of the week?!). But, so far not so bad! Feeling a bit run down so I went to Whole Foods and stocked up on an ungodly amount of vitamins to kick this bug I feel coming on. Now, I'm catching up on all my emails and hoping to squeeze in some music writing time while everyone is out of the apartment.  

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

Hi, there! My name is Madeleine Mathews but I go under the moniker ‘MAWD’ (a few reasons for the name: I LOVE Harold and Maude and want to embody Maude's positivity and outlook on life...minus dating a man sixty years my senior. If you haven't seen the movie, it's my favorite! And, MAWD derives from the '60s slang, ‘mod’, which is one of my absolute favorite eras. And, lastly, my grandmother pronounces my name ‘Maude-lin’ with her adorable Swiss accent; so, therefore, I am MAWD!).

A little about me: I have a chinchilla named Caper (who I've had for five years). I moved to Los Angeles about a year ago and we have a love/hate relationship...mostly love! Due to some recent health problems, I've had to really restrict my diet and find it hard to eat out because of that. But, on the upside, I have found I actually really love cooking! And, if I do say so myself, I'm pretty dang good at it. I have an amazing boyfriend (who you can see shaking his booty and driving the ‘MAWD-mobile’ in the video) who has been incredibly supportive of me throughout this whole bad health and musical journey. My favorite show is Seinfeld.. and I play music!

Wandering Eye is your latest single. Can you give me a sense how the song came together and what inspired it?

It came together about a year ago. My boyfriend and I were in a parking lot and he was poking fun at me saying I have a wandering eye after this man walked past us. He then went on to say “I'm going to write a song about how you have a wandering eye” and I snapped back: "No…I'm going to write a song about how I don't have a wandering eye!".

And, so; the next day I wrote a majority of the song in my room and a few days later took it to my good friend (who is actually producing my E.P. and produced/co-wrote this song), Josiah Mezzaschi, and he loved it! I, of course being the indecisive and most self-critical person I am, thought it wasn't very good. But, after he encouraged me that we should finish it; we did that very day and now it's one of my absolute favorite songs I've written!

PHOTO CREDIT: Ben Thomas

I hear little shades of Janis Joplin! Did it take a lot of work to provide your voice that rawness or is it a natural sound?!

It's funny how my voice found me…

I didn't start attempting to sing until I was seventeen. I always felt I had this desire to get my emotions out through song, but had no idea what I was doing when it came to actually singing them. I would mimic other artists like Amy Winehouse, Joanna Newsom or Norah Jones for fun…and eventually I found my own unique sound. Voice teachers have always had trouble with me because of this and the way I pronounce things when singing. I don't want to sound like everyone else: I want to sound like whatever feels most natural and real to me!

When it comes to those scratchy, belty parts of my voice - that developed over time. I first started out singing light, folky songs and in college, while playing in a few bands, I found myself wanting to rock. I love Folk music and love playing/writing it, but there's a part of me that just wanted to let loose. I still have no idea how I do it but it just feels so right when I do. It's an unexplainable thing but I only hope to develop and improve my voice over my lifetime. Just a short three years ago, I would of never imagined my voice being able to sing Rock ‘n' Roll. I think all artists grow into who they are truly meant to become.

Can you tell me what sort of music you grew up around? Which artists struck your ear?

Oh, dear. These questions are the hardest because I could write a novel…

When I was really young (like five-twelve), my mom played a LOT of Beatles, Carole King; Simon & Garfunkel, Partridge Family (don't laugh...this is my best-kept secret...I love them so much) and all the classics while my dad and I would rock out to The Rolling Stones and Beck. One of the people who truly made an impact on my life musically was my best friend from basically birth, Hannah Grubba.

In fourth grade, we would drive around in her mom's car listening to Led Zeppelin, Black Sabbath; Queen etc. (we thought we were so cool). In middle-school, we'd listen to Devendra Banhart, The Shins; The Strokes, early Kings of Leon (Aha Shake Heartbreak is so good); Vetiver, Yeah Yeah Yeahs and so many other bands. After getting exposure to Indie music, I was obsessed with finding new bands. I'd go on Pitchfork and all those other early blogs and try to find my next favorite underground band. In high-school, there was a lot of Fleet Foxes, Radiohead; Joanna Newsom, The Kills; Dirty Projectors and all those early Indie bands that really set the bar high.

Might we see more material next year perhaps?

Indeed! I'm working on quite a few things for next year including my second E.P. Right now, I'm focusing on trying to figure out which songs will make the cut and trying to write more. At this point, I'm trying to release single-by-single until I have enough for my second E.P. - since that seems to be the model these days in the music world. 

What do you hope to achieve by the end of 2018?

I have a few goals set for myself. I'd love to get on a notable Spotify playlist and get my music heard by more people! I'd also love to get some more quality live videos up (which are in the works). And, it would be absolutely amazing if I could get a T.V. placement! In reality, I would just like my music to reach and touch more people.  

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

Oh, goodness. I feel like there have been a lot! So far, a couple come to mind...

The first one being my E.P. release show in Chico, CA back in May 2017. I just couldn't believe the large crowd of people there came to see me! It was truly overwhelming and special. Some of the others being our tour to SXSW with my L.A. backing band in March 2018 and releasing this music video! Every show seems to be special in its own way. Every encore, every crowd that comes to see us; it truly means so much. 

Which three albums mean the most to you would you say (and why)?

This is probably the hardest question ever. But, the three that first pop into my mind are:

Alabama Shakes - Boys & Girls

This is when I fell in love with Brittany Howard. She is one of my all-time favorite musicians and is incredibly inspiring. This album sort of catapulted me into discovering my Rock ‘n' Roll side.

Fleet Foxes - Helplessness Blues

This is one of those albums that are not only so magical and nostalgic, but absolutely perfect. I remember seeing them play it at the Greek Theater in Berkeley, CA when I was a teenager and I cried from how amazing this show was. One of my all-time favorite albums.

The Beatles - 1

I know this is a compilation album of some of their greatest hits but I remember a specific moment when my rat died when I was like six and my mom bought me this album to cheer me up. And, I'd listen to it every time I was sad. It just reminds me of innocent and wonderful times.

If you could support any musician alive today, and choose your own rider, what would that entail?

I would love to open for Alabama Shakes. I think that would absolutely be a dream come true. My bandmates and I joke about it all the time; saying things like "Just wait till we open for the Alabama Shakes and travel all over the world!". 

My own rider?! First of all: How cool would that be!? Since I have such a restricted diet from my health problems, I would definitely have lots of LaCroix (although, I heard they are getting sued for having insecticide in their product?! So, maybe I'll stick to Pellegrino); Throat Coat tea, coconut tortillas and a taco bar…and endless french fries. 

What advice would you give to new artists coming through?

I would say...it's a long road but don't give up. If you have the right amount of determination and drive, you can make anything happen. Learn things on your own (whether it's industry knowledge about splitting co-writing agreements or contracts to creating your own content so you don't have to waste money or time paying someone else)! Be creative! Stand out from the crowd but be yourself. Don't ever let people tell you who you should sound like or who you should be. I know I'd rather look back and be proud of the work I've done than compromise to make more money or become more commercial…

You will find your fan base. It takes people years and years and years to break through, although it seems like they got discovered overnight (hey; some people do but most of the time it took them five-plus years to get there). I know I'm still on my journey, but the best things I've learned this year - especially living in L.A. - is to stop comparing my own journey and successes (or lack thereof) to others. Be happy with where you are. If you are playing music and have a band that supports you, that right there is amazing! If you have people coming to your shows to see you (even if it's just a few), that is amazing! Be happy that you get to play music!

Do you have tour dates coming up? Where can we catch you play?

Right now, I'm going into a bit of a hibernation mode with our live shows. My backing band and I have been playing pretty consistently for the last year (anywhere from three-eight shows a month or more), so I'm taking the time now to get some recordings and videos done and rework our live set. I've got lots of new songs in the mix and new fun covers we want to toss in. Our next two shows are at The Hotel Café’s main stage on October 16th and Sofar Sounds’ L.A. Halloween show on October 30th.  

Will you come to the U.K. and play at some point?

I would love to! I would love to do a national and international tour at some point. Just gotta keep hoping for that big breakthrough to get the funds or hop on board opening for another band! 

 IN THIS PHOTO: Livingmore/PHOTO CREDIT: Suzi Carmichael

Are there any new artists you recommend we check out?

Oh, definitely! Some local L.A. acts that I love are Livingmore, Aloud; KiSMiT and Sarah Rogo. I've had the pleasure in sharing a show with all of these amazing bands/artists. I also know that she is blowing up everywhere - but Phoebe Bridgers has been on-repeat for the last six months or so. She's amazing!

 IN THIS PHOTO: Phoebe Bridgers

Do you get much time to chill away from music? How do you unwind?

Even when I'm not playing or writing or seeing music, I'm usually doing something music-related like answering emails, organizing band practices or recording times; booking shows or trying to make content. But, when I do give myself a little breathing room; I love to go thrifting with my friends; go out for coffee at my favorite spot down the street, go to the beach; draw when I'm inspired, go on fun little dates with my boyfriend and lay in bed with a big cup of tea and watch really bad reality shows. 

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Oh, my goodness. ONE SONG! This is the hardest yet. I always go through phases of only listening to Gregory Alan Isakov for weeks straight. So; in honor of me being in yet another Isakov phase, how about one of my favorite Greg songs called Big Black Car

Thanks for having me!

___________

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FEATURE: Stronger: World Mental Health Day: Remaining Focused and Resolute

FEATURE:

 

 

Stronger

PHOTO CREDIT: @daesign/Unsplash 

World Mental Health Day: Remaining Focused and Resolute

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TODAY is a very important and busy day…

 PHOTO CREDIT: @aliyahjam/Unsplash

that has got a lot of folks on social media sharing their stories and joining together. It is World Mental Health Day and, as you many have seen online; a lot of people are coming out and sharing their mental-health experiences. I am seeing a lot of people revealing their experiences with depression/psychological distress. Mental-health is a complex thing so being aware of its spectrum and how many people are going through tough times is important. Forbes have written a piece that states why we need to get involved with this special day and take messages away:

“If you’ve ever heard the term ‘mental health’ and thought this isn’t for me, you may just want to keep reading.

While the language around mental health and mental illness has existed for decades, the conversation itself has become far more open and relevant to all (and rightly so). Mind, the UK’s leading mental health charity summarises it concisely by saying “mental health can affect anyone any day of the year”.

While there is a World ‘Day’ for almost everything, today – World Mental Health Day – feels particularly significant and worthy of attention.

·         Mental health problems are one of the main causes of disease burden worldwide.

·         In the UK approximately one in four people will experience a mental health problem each year.

·         And one in six report experiencing one of the most common problems, such as anxiety and depression, in any given week.

Days like today at the very least, bring global attention to an important conversation and provide an opportunity for people to share and speak up more publicly about their own experiences”.

This is the one day where you do not really mind hearing strangers/’friends’ talk about things. If they are recognising World Mental Health Day and being more open then it feels like, in a way, they are taking a big step and, if only for a day, social media is being used as a tool to connect and communicate effectively. In music, I am hearing a lot of tales of people taking leaps or relocating. It can be scary upping sticks and going somewhere new and, for me, that is especially true. I moved to London a few weeks back and, in order to be closer to the heart of the music industry, I feel like it is something I HAD to do. I was too far away from the action where I was and I had been meaning to make the move for years. You might assume happiness and contentment overcame me when I was settled in and had everything unpacked. Maybe that is the feeling for some but, for me, it is more like a business move. I don’t do ‘happy’ in any sense and, having suffered from pretty bad depression since I was in school; I am unable to get properly excited and overwhelmed by positive emotion. I have not been able to find work yet, which is a pain, but my money situation is not too bad. I am keeping a close eye on things but am itching to have something happen and find some employment. I have plenty of time to write but feel a bit isolated and tired at the moment.

 PHOTO CREDIT: @jpgbarbosa/Unsplash

When finances become a bit scant and it does get scary, I hope something will come along and, even though the city is packed and busy, it is really hard finding a well-paid job and getting your footing. I am tired all of the time and even a simple commute is exhausting and can involve a lot of being prodded and pushed about. I have met a few new people up this way but it is hard to escape the feeling of being alone and isolated. Even when you are in crowds of people and on a busy street; there is no point where I feel safe, together and part of a community. I guess that is the nature of the city and, through all of it, I have to keep reminding myself I am doing this – moving and staying here – to get ahead in music and make a life for myself. There are things about home and my old life I miss. I do miss family and my dog and I miss my car. Being able to get anywhere and have that freedom is a big loss. I miss being able to drive down to Brighton on a sunny day like this and my local area; having a job and being a bit more secure.

 PHOTO CREDIT: @fairytailphotography/Unsplash

There are bad days and things are pretty stressed but there are good moments and times when I can find solace and perspective. Just today, when traveling on Piccadilly underground; there was a busker playing a version of, I think, Radiohead’s No Surprises. It may seem appropriate/inappropriate on World Mental Health but he was playing the song on a ukulele. It was a quite meandering version but it made me smirk none the less. I did not spend too much time outside the station but, when I came back through fifteen minutes later, he was playing the same song! That made me smile and it is little things like that which get you through. I know the city existence will be a hard one and it might be a while yet before I find work but I am afforded time at the moment to write and not have to face the daily commute. Others on social media, I see, are experiencing doubts and finding adapting difficult. I am not sure whether it is the dreaming minds of musicians that are most prone but so many are dreaming of big things are tackling them head-on. Whether that is a move to London or recording an album; having this concept or an ideal for where their music will head. The creative mind is often prone to these big ideas and romantic notions and that is great.

Musicians are among the most ambitious and hardest working out there and I know few in the business who cut loose. There are many like me who have taken leaps or made changes in life and it is a bit of a struggle. It is natural, I guess, and the one thing we have to remember is things will improve and things will fall into place. Few of us aware of the extent of mental illness and how one’s mental-health is affected on a daily basis. I can share my story and see other people’s tales me it is hard to understand exactly what is happening and how they are feeling. Life gets busier and harder as we become more modern and immersed in technology. We have adverts that set this ‘ideal – whether it is beauty products, technology or something else. We are always bombarded with adverts and emails; our lives are more and more conducted online and it can be hard to find time to unwind. Even if we can get out; how much does a night out cost and do we have the energy?! I am not surprised our mental-health problems are making the news. Everyone sees successful and good-looking people online and someone else’s good news and achievements can make us feel inadequate and a failure.

 PHOTO CREDIT: @arstyy/Unsplash

That is especially true in music. There is a split between the established and popular artists with their gig demands and big audiences and those who have to slog and make their way with very little support. The thing is; even if you think a band or famous musician looks content and happy, often, they are struggling and go through the same things as us. I guess we all need to stop measuring ourselves against others and spend less time online. Today; I have seen some big artists speak about their mental-health problems and what they have to endure. A lot of articles are online that advise us how to look after ourselves and we all see messages/posts with platitudes and pieces of encouragement. Some of it can help, I guess, but it is a lot more complex helping someone cope with mental-health issues because we are all complex and have different minds. I think, on World Mental Health Day, we all need to take in as much advice as we can and spend some time away from the Internet. Whatever works for you; you need to do it and be aware that there are many people out there going through similar problems. Poor mental-health is a real concern for everyone and I am seeing more and more musicians express their anxiety and troubles. I think it is the demands of the profession and how much time they have to spend online. I am on the laptop most of the day and it can be very isolating and tiring.

 PHOTO CREDIT: @jp_photography/Unsplash

Rather than abandon that practice and way of working; all of us need to make small changes and be more conscious of how we are feeling. I hope the messages and awareness being raised today endures and everyone who feels sad/bad about themselves realises they are strong. It can be hard to feel like you are coping and mean something. I am in that boat and my sense of self-worth seems to wane and wax – I am not sure whether I am making the right choices and if things are going to work out for the best. Keeping that faith strong and focusing is a challenge but we need to keep resilient. Being unafraid to connect with someone in the same boat is a big step and getting out and socialising as much as possible is a positive move. A lot of articles released today and promoting exercise and fresh air; others are suggesting mindfulness and spending a couple of hours a day to relax and put away all the distractions. I am not sure how much these guides and articles help but it is important, however you are coping and making sense of your mental-health; ensure you follow as many steps as possible and do not measure yourself against others. Music is an industry where impressions of self-worth and ‘success’ are being measured against unrealistic standards. I suppose it is unavoidable but there is a link between this mindset and the rise in mental-health issues. Finding ways to get by and realise you are doing well is paramount. That might involve listening to music more or exercising; making big changes or altering the way you see yourself – today is a chance to start afresh or be reminded why you are around and what you have to offer. Things will get better, regardless of how bad they are now, and the future holds a lot of great things. World Mental Health Awareness Day is not meant to be a once-a-year occasion for discussion: we need to keep the spirit burning and understand how important good mental health is. If you are someone who is struggling or reaching a very low point; have a look at the great mental-health charities out there and reach out if needs be. Regardless of how impossible improvement is and how low you are; take stock, take a breath and understand…

 PHOTO CREDIT: @wildlittlethingsphoto

YOU are needed and are strong.

FEATURE: The Gift of Music: Some Brilliant Pre-Christmas Releases Worth Your Affection

FEATURE:

 

 

The Gift of Music

PHOTO CREDIT: @freestocks/Unsplash

Some Brilliant Pre-Christmas Releases Worth Your Affection

__________

I will publish a feature that highlights…

 IMAGE CREDIT: Reel Art Press

some great music-related items perfect for Christmas soon but, over the next few weeks, it seems like there are some fantastic treasures coming forth that could distract you before then! I have been looking at my bank balance and wondering whether I can afford all the goodness that is being unveiled. The first treat that appeals to me and I think should be on the minds of everyone who loves good music is Led Zeppelin by Led Zeppelin. In the absence of any Led Zeppelin gigs – those reunion talks never go away! – anyone with even a slight whiff of Led Zeppelin love (that should be EVERYONE) will be able to revel in a collection of photos that show the guys in their prime – a snapshot of what they were about and what the experience of being in Led Zeppelin was all about. For those who want a brief overview; here is a rundown of what you can expect:

“Led Zeppelin by Led Zeppelin is the first and only official illustrated book to be produced in collaboration with the members of the band. Celebrating 50 years since their formation, it covers the group’s unparalleled musical career and features photographs of Jimmy Page, Robert Plant, John Paul Jones and John Bonham on and offstage, in candid moments and in the recording studio. This definitive 400-page volume includes previously unpublished photos, artwork from the Led Zeppelin archives and contributions from photographers around the world.

IN THIS PHOTO: Led Zeppelin/PHOTO CREDIT: Neal Preston

If ordered before October 9th, an exclusive 19.7 x 27.8in poster will come with your pre-order from reelartpress.com or from selected independent retailers. To see the list of participating stores, click here”.

There are some fantastic shots in the book and you get a real understanding of who the band were and what life on the road was like. In an age where there are endless Instagram posts and musicians seem less interested in the visual side of things; having a passionate and authoritative collection of Led Zeppelin photos is a great treat! I know there are always Led Zeppelin products coming onto the market – including reissues and new rarities – but there are not many books out there about them. This volume is a definite must for anyone who wants to get inside the head of a great band and have their eyes opened. I am already putting my order in and, as I say, the next few weeks are going to be very pricey indeed! I feel like the music gods are sprinkling treasures before us in the run-up to Christmas in order to empty our wallets. Who am I to argue when there is such gold coming through?! If Led Zeppelin is not your bag then maybe Kate Bush is – an artist I talk about a lot and, rather unexpectedly, we have two Bush-related gifts we can get our money around!

 IMAGE CREDIT: Faber & Faber

I keep mentioning money but, really, when you have these fantastic products in the market, they are more investments than anything else. I love streaming music and downloading tunes but they are disposal and rather throwaway in many ways. When artists bringing out hardware, whether it is a book or music, then it is a real chance to get excited and buy something, years from now, you will keep dear and hold onto. I have talked about Kate Bush’s lyrics book but, for those unaware, here is a bit of information:

“Kate Bush writes some of modern music’s most gorgeous, literary, and complex lyrics, and now a portion of them will be collected in a new book, How To Be Invisible: Selected Lyrics. The cloth-bound book will be out December 6th via Faber, and will feature an introduction from Cloud Atlas author David Mitchell, a longtime fan of the singer.

“For millions around the world Kate is way more than another singer-songwriter: she is a creator of musical companions that travel with you through life,” Mitchell says in a press release. “One paradox about her is that while her lyrics are avowedly idiosyncratic, those same lyrics evoke emotions and sensations that feel universal.”

Mitchell, who contributed to Bush’s 2014 Before the Dawn performances, has previously spoken about Bush’s lyrics. “Her songs read like scenes from short stories, or the stories themselves (odd ones),” he wrote in 2011. “It’s hard to think of a novelist, let alone another singer-songwriter, who takes on such diverse narrative viewpoints with Bush’s aplomb: a foetus during nuclear war (‘Breathing’), a weather-machine inventor’s daughter (‘Cloudbusting’), a suicide bomber (‘Pull Out the Pin’) or a dancer whose partner turns out to be Hitler (‘Heads We’re Dancing’)”.

IN THIS PHOTO: Kate Bush/PHOTO CREDIT: John Carder Bush/Fish People

Aside from artists like Paul McCartney, Joni Mitchell and Bob Dylan – whose lyric book I already own – there are not that many out there whose words captivate me enough to go out and buy a book. Bush is that exception and someone, right from the off, took everyone by surprise! Consider what she was talking about on her debut album, The Kick Inside, and you can understand why everyone fell for her way with language – she spoke about incest, mature love and something utterly beguiling. Her lyrics book, How to Be Invisible: Selected Lyrics will be out on 6th December and I am really excited. Bush’s and genius continued right through her career and even now we are still drooling and picking over Kate Bush’s lyrics. It is a bit hush-hush regarding the designs and which songs will appear – there are no pre-releases teasers – so we will have to guess what form the book takes. Even those who are not enamoured with Kate Bush will find much to love and be able to easily immerse themselves in her fantastic and beautiful world. I cannot wait to see what is included in the book and it will be a real treasure! Although I feel the book will be an incredible thing, The Guardian had some reservations:

“Bush named her first hit after a school set text, which is a great way to get everyone to think you’re some kind of poet, the sort of person who reads for fun or something. She also wrote a lot of songs that need to be written down to be seen for their full oddness. Cloudbusting, don’t forget, is about a man struggling to recollect the time that his father was arrested for trying to build a rain-making machine. Yes. Breathing is written from the perspective of a foetus during nuclear war. Hounds of Love is about that picture of dogs playing poker. It isn’t, but you get the point. Even then, lines that work on record don’t always seem the same when written down. Her Mrs Bartolozzi is a deft sketch of the drudgery of the housewife, with dabs of Mrs Dalloway. But on the page, it’s hard to justify charging us £19.99 to read: “Slooshy sloshy slooshy sloshy / Get that dirty shirty clean / Slooshy sloshy slooshy sloshy”.

IMAGE CREDIT: Kate Bush/Fish People

Maybe there is new Kate Bush music coming next year (I predict there will be) but, out of the blue, she announced she’s remastered her albums and is bringing them out in four different sets. Before her book comes out in December, you can get acquainted with her remastered reissues and it is a nice accompaniment. The four-box release, as CLASH show, brings together all her albums:

“Featuring rarities and cover versions, the vinyl and CD sets will be released in two separate batches - the first two on November 16th and the second two on November 30th.

Contents of the boxes are as follows:

KATE BUSH REMASTERED IN VINYL 1
THE KICK INSIDE
LIONHEART
NEVER FOR EVER
THE DREAMING

KATE BUSH REMASTERED IN VINYL 2
HOUNDS OF LOVE
THE SENSUAL WORLD
THE RED SHOES

PHOTO CREDIT: Kate Bush/Fish People

KATE BUSH REMASTERED IN VINYL 3
AERIAL
 DIRECTOR’S CUT

50 WORDS FOR SNOW

KATE BUSH REMASTERED IN VINYL 4
12” MIXES

THE OTHER SIDE 1
THE OTHER SIDE 2
IN OTHERS’ WORDS”.

You can pre-order here but I am most looking forward to that fourth boxset! There are some great rarities and Christmas tracks, some B-sides and cover versions that, whilst maybe appealing to the diehard, it is a wonderful study of a complete artist who could tackle any song and make it her own.

IMAGE CREDIT: Cassell Illustrated

I, like many, have struggled to obtain Kate Bush vinyl and, if you look around, there are few record stores that stock her stuff. You often have to pay a lot of money on Amazon and it is a rather frustrating process! Not only will the albums be remastered and have an even sharper sound; it is great to have the records all in one place so you can enjoy time and time again. I shall move on from Bush and pushing her work but it is exciting there are ‘new’ releases and she is still keeping active. I will mention two more pre-Christmas releases but, right now, another music-related photo collection has just been announced. Whereas Led Zeppelin have been involved in the collation and creation of their book; Amy Winehouse’s tragically short but brilliant life is being brought to our shelves. Here are some details (from DAZED)  that talk about the book and what it is about:

“In an interview with Dazed last year, photographer Charles Moriarty shared memories of his friend, Amy Winehouse, as he spoke about his first photobook, Before Frank – which featured an introduction by Dazed’s Ashleigh Kane. Moriarty befriended Winehouse in 2003 when she was a 19-year-old local singer on the cusp of fame after being asked to take some photographs of her in London and New York for her debut studio album, Frank. Now, the photographer is releasing Back to Amy, which features a collection of unseen photographs of the late singer from those sessions.

PHOTO CREDIT: Charles Moriarty 

“Back to Amy: An intimate portrait of the real Amy Winehouse brings the world a step closer to Winehouse’s unique energy and vitality. Alongside the new images, Moriarty has included a series of new sections, which include words from Winehouse’s mother Janis, as well as band members, and many others who were close to her.

Talking to Dazed about his first book, Moriarty brought up his memories with young Winehouse and said, “I remember asking Amy, ‘What do you want from this?’ and I do remember she wanted it to be as real as could be.”

Despite Winehouse’s confident and carefree demeanour, Moriarity says he had seen the singer’s vulnerability. Her sensitive nature, he believed is what was exploited by many and what led her to such a tragic end. He said, “Amy had things in her life that weren’t all correct and there were issues there, but to then use that as a weapon against her was just upsetting to see. Sadly, I don’t think the media will ever learn from that.” He adds that it’s through these books that he hopes to show the world the real Amy Winehouse.

Back to Amy: An intimate portrait of the real Amy Winehouse featuring rare and unseen photographs by Charles Moriarty – published by Cassell Illustrated – is available now. You can find more information here”.

PHOTO CREDIT: Charles Moriarty  

I love Amy Winehouse and the book is out now. I am holding off buying it for a few more weeks – need to give the credit card a brief rest! – but it is amazing to see Winehouse from different angles and in different settings. It makes her passing all that more sad and makes us realise what an immense talent she was. Many get that view of her with a big beehive and make-up; the excessive and derailed artist who was hounded by the press. Underneath everything she was this rather cheeky, shy and normal woman who wanted to make music and did not care about all the fame and attention. The book is an illuminating, charming and memorable collection of photos that paint a story of Winehouse and who she was away from the glare of the media. Ensure you get a copy when you can because it is another essential musical purchase. Staying on the theme of books and there is another essential buy you need to be aware of. Rather than a lyric or photo book; Matt Everitt has collated his interview experienced into The First Time: Stories & Songs from Music Icons. The hardback edition is out on 5th November and I would urge people to pre-order their copy about the book:

“Taken from the cult BBC 6 Music show, The First Time invites you inside the lives of some of the music world’s most notable legends.

From Alice Cooper to Yoko Ono, Courtney Love to Elton John, follow their lives and careers starting with their first musical memories, first records and first gigs, finding out the songs that have shaped them along the way. With 40 compelling interviews, specially commissioned collage illustrations and a bespoke playlist for each musician, The First Time is a must-have for any music lover”.

PHOTO CREDIT: @matteveritt 

Music is becoming less visual and physical so here, in a rather spiffing book, we have something worth holding onto and pouring over! I love reading interviews online and hearing them on the radio but bringing them into a book gives us time to pause and reflect. I know Everitt has a lot of experience interviewing and you can feel the passion come through. I have heard a lot of the original interviews on his BBC Radio 6 Music show, The First Time with…, and I know there will be extra little details and additions. In any case, it is hard to find all the older shows and, here, we have this compendium that unites the most memorable and revealing interviews. Get a hold of it and you will not be disappointed.

I forgot to mention the Beastie Boys’ book, as Consequence of Sound explains, it is a definite must-have:

“Back in 2015, Beastie Boys’ Ad-Rock and Mike D signed a deal with Random House to pen their memoir. Now, three years later, the book is finally ready for release on October 30th.

Based on the sheer size of the aptly titled Beastie Boys Book, it’s easy to see why it took the duo so long to complete. The behemoth book spans 592 pages and includes rare photos, original illustrations, a cookbook from chef Roy Choi, a graphic novel, a map of Beastie Boys’ New York, mixtape playlists, pieces by guest contributors including Spike Jonze, Wes Anderson, and Amy Poehler, and other surprises”.

IN THIS PHOTO: The Beastie Boys/PHOTO CREDIT: Bruno Torturra Nogueira

“A description on the Beastie Boys’ website called Beastie Boys Book as “a panoramic experience” and “a book as unique as the band itself.” It will cover the entirety of the group’s career, “revealing and very funny accounts of their transition from teenage punks to budding rappers; their early collaboration with Russell Simmons and Rick Rubin; the almost impossible-to-fathom overnight success of their debut studio album Licensed to Ill; that album’s messy fallout; their break with Def Jam, move to Los Angeles, and rebirth as musicians and social activists, with the genre-defying masterpiece Paul’s Boutique.” No doubt the book will also touch on the Beastie Boys’ later years, including the tragic death of MCA in 2012.

Pre-orders for Beastie Boys Book are ongoing here”.

I definitely recommend you get behind the book and grab a copy. Again; even if you are not a Beasties fan – how dare you! – then it is a definite great read that shed light on the Hip-Hop scene in New York in the 1980s and 1990s and will give you a humorous and colourful take on the Beastie Boys and what made them tick. The last pre-Christmas music purchase I will mention – I may do a second part if more goodies come to life – is The Beatles’ eponymous album getting a workover.  I am a massive fan of that 1968 album and consider it to be one of the best from The Beatles! It is a magical, fractured and key work from them – at a time when the members were on different pages and cracks were showing. The thirty-song album mesmerised critics upon its release and has delighted fans ever since. Here, in a fantastic article; Rolling Stone have been looking at the release and what fans can expect:

 IN THIS PHOTO: The Beatles in London on 28th July, 1968/PHOTO CREDIT: © Apple Corps Ltd.

“Everything we know about the White Album is about to change. The Beatles’ 1968 masterpiece has always been been the deepest mystery in their story—their wildest, strangest, most experimental, most brilliant music. But as it turns out, the White Album is even weirder than anyone realized. Especially when you’re hearing it in Abbey Road, the fabled London studio where the band spent five long months making it. Over a couple of sunny days (and late nights) in Abbey Road, Rolling Stone got a one-on-one exclusive tour of the previously unheard gems from the new Super Deluxe Edition of The Beatles (due November 9), forever known as the White Album. Producer Giles Martin, son of George Martin, is a valiant guide, playing outtakes from deep in the vaults, often grabbing a guitar to demonstrate a chord change. “They were a band on fire,” he says. “It’s double or triple Sgt. Pepper—the four walls of this studio couldn’t hold them anymore.”

Part of the White Album mystique is all the drama that went into it—the arguments and bad vibes are the stuff of legend. So the big shock is all the humor, excitement, and camaraderie on display in the new set. Case in point: a previously unknown version of “Good Night” where John, Paul, George and Ringo all harmonize over folk guitar. As Martin admits, “You listen to them sing together and ask, ‘This is the White Album?” 

 

“Yes, this is the White Album—and the stunning box set goes deep into the creative frenzy the Beatles surged through in 1968. There’s a new mix from producer Giles Martin and engineer Sam Okell, plus four discs of outtakes. The bonus material is full of revelations, especially the crown jewel of buried Beatle treasures: the acoustic Esher demos.

It follows in the wake of last year’s acclaimed anniversary edition of Sgt Pepper. But this is a deeper dive, since the album covers so much ground. With their batteries recharged from their India retreat, all four were hitting new peaks as songwriters—even Ringo, who contributed “Don’t Pass Me By.” They couldn’t wait to get back into the studio. They had no idea how much trauma they were in for. George’s “Not Guilty” went through 102 takes—and still didn’t make the album. Their long-suffering producer bailed after a few months. Ringo not only quit the group for a couple of weeks, he fled the country”.

PHOTO CREDIT: Getty Images 

“The outtakes defies the conventional wisdom that this is where the band split into four solo artists. “Do you think the perception of the Beatles history has been tainted by their own commentary in the early Seventies?” Martin asks. “That’s what I get. I think post-Beatles, when the champagne cork has flown out of the bottle, and they’ve gone their separate ways, they reacted against it. ‘Oh, to be honest we didn’t work well as a group,’ and that sort of thing. Yet they never slowed down creatively. I quite like the idea of them throwing cups of tea at each other in the studio. I’m mildly disappointed not to find it. But what they’re doing is making a record”. 

“The Deluxe and Super Deluxe Editions finally unveil the Esher demos, which hardcore Beatle freaks have been clamoring to hear for years. In May 1968, just back from India, the group gathered at George’s bungalow in Esher (pronounced “Ee-sher”) to tape unplugged versions of the new songs they’d already stockpiled for the new album. Over the next days, working together or solo, they busked 27 songs. The tapes sat in a suitcase in George’s house for years. Seven tracks came out on Anthology 3; others have never been released in any Beatle version, including John’s “Child of Nature” and George’s “Sour Milk Sea.” The Esher tapes alone make this collection essential, with a fresh homemade intimacy that’s unique. Martin says, “They’re rough takes, but spiritually, the performances stand on their own.”

not to find it. But what they’re doing is making a record.”

The Deluxe and Super Deluxe Editions finally unveil the Esher demos, which hardcore Beatle freaks have been clamoring to hear for years. In May 1968, just back from India, the group gathered at George’s bungalow in Esher (pronounced “Ee-sher”) to tape unplugged versions of the new songs they’d already stockpiled for the new album. Over the next days, working together or solo, they busked 27 songs. The tapes sat in a suitcase in George’s house for years. Seven tracks came out on Anthology 3; others have never been released in any Beatle version, including John’s “Child of Nature” and George’s “Sour Milk Sea.” The Esher tapes alone make this collection essential, with a fresh homemade intimacy that’s unique. Martin says, “They’re rough takes, but spiritually, the performances stand on their own”. 

“This edition has new versions of other songs from the same period: “Hey Jude,” “Lady Madonna,” “The Inner Light,” “Across the Universe.” (But not the B-side “Hey Bulldog,” since there aren’t any outtakes—they tried it only once.) They also have a bash at oldies like “Blue Moon” and “You’re So Square (Baby I Don’t Care).” It shows what should have been evident all along from the original record—they sound like a true band, four guys who can’t stop showing off for each other, too passionate about their songs to consider backing down. (Or to notice everyone around them cracking under the strain, even the stoic Mr. Martin. His son explains, “There was no schedule, and he loved a schedule.”)

Of course, the essence of the White Album is that everyone hears it differently—including the Beatles themselves. They clashed over what to include, what to leave out, whether it should have been edited down to a single record. (Years later, in the Anthology documentary, they were still arguing over it.) This edition will fire up those arguments. But even for fans who know the original album inside out, it’s a whole new experience—one that will permanently change how we think and talk about the Beatles”.

PHOTO CREDIT: Getty Images 

1. “Revolution 1”
The legendary Take 18, a nearly 11-minute jam from the first day of the White Album sessions. The other Beatles were surprised to see someone new at John’s side: Yoko Ono, who became a constant presence in the studio. It begins as the version you know from the record: John’s flubbed guitar intro, engineer Geoff Emerick’s “take two,” John’s “okaaay.” But where the original fades out, this one is just getting started. The groove builds as John keeps chanting “all right, all right,” from a low moan to a high scream. Yoko joins the band to add distorted synth feedback, while Paul clangs on piano. She recites prose poetry, fragments of which that ended up in “Revolution 9”: “It’s like being naked…if you become naked.”

The story of this jam has been told many times, usually presented as a grim scene where Yoko barges in, sowing the seeds of discord—the beginning of the end. So it’s a surprise to hear how much fun they’re all having. It ends in a fit of laughter—she nervously asks, “That’s too much?” John tells her it sounds great and Paul agrees: “Yeah, it’s wild!”

2. “Sexy Sadie”
As the band warms up, George playfully sings a hook from Sgt. Pepper: “It’s getting better all the tiiiime!” John snorts. “Is it, right?” Take 3 is an acerbic version of “Sexy Sadie,” with Paul doodling on the organ. Yet despite the nasty wit, the band sounds totally in sync. When George asks, “How fast, John?,” he responds, “However you feel it.”

3. “Long, Long, Long”
George’s hushed hymn has always been underrated—partly because it’s mastered way too quiet. In the fantastic Take 44, “Long, Long, Long” comes alive as a duet between George and Ringo, with the drums crashing in dialogue with the whispery vocals. Giles Martin explains, “I suppose, as is documented here, George was Ringo’s best friend, as he says. That song is kind of the two of them.” George starts freestyling at the end: “Gathering, gesturing, glimmering, glittering, happening, hovering, humoring, hammering, laquering, lecturing, laboring, lumbering, mirroring…” It closes with the spooky death-rattle chord, originally the sound of a wine bottle vibrating on Paul’s amp. “It still gives you the fear when it comes.”

4. “Good Night”
Of all the alternate takes, “Good Night” is the one that will leave most listeners baffled why this wasn’t the version that made the album. Instead of lush strings, it has John’s finger-picking guitar and the whole group harmonizing on the “good night, sleep tight” chorus. It’s rare to hear all four singing together at this stage, and it’s breathtaking in its warmth. “I do prefer this version to the record,” Martin admits. (He won’t be the last to say this.)

John plays the same guitar pattern as “Dear Prudence” and “Julia.” That’s one of the distinctive sonic features of the White Album—the Beatles had their acoustic chops in peak condition, since there had been nothing else to do for kicks in Rishikesh. In India, their fellow pilgrim Donovan taught them the finger-picking style of London folkies like Davey Graham. “Donovan taught him this guitar part. John was like ‘great!,’ and then in classic Beatle style, went and wrote three songs using the same guitar part.”

The other “Good Night” takes are closer to the original’s cornball lullaby spirit. In one, Ringo croons over George Martin’s spare piano; in another, he does a spoken-word introduction. “Come on now, put all those toys away—it’s time to jump into bed. Go off into dreamland. Yes, Daddy will sing a song for you.” By the end, he quips, “Ringo’s gone a bit crazy.”

IMAGE CREDIT: Animal Care College 

5. “Helter Skelter”
This Paul song inspired endless studio jams, lurching into proto-headbang noise—they started it the day after the Yellow Submarine premiere, so maybe they just craved the opposite extreme. This take is 13 minutes of primal thud—remarkably close to Black Sabbath, around the time Sabbath were still in Birmingham inventing their sound”.

6. “Blackbird”
Paul plays around with the song—“Dark black, dark black, dark black night”—trying to nail the vibe. It isn’t there yet. He tells George Martin, “See, if we’re ever to reach it, I’ll be able to tell you when I’ve just done it. It just needs forgetting about it. It’s a decision which voice to use.” He thinks his way through the song, his then-girlfriend Francie audible in the background. “It’s all in his timing,” Martin says. “There’s two separate things, a great guitarist and a great singer—he’s managed to disconnect and put them back together. He’s trying to work out where they meet.”

7. “Dear Prudence”
Of all the Esher demos, “Dear Prudence” might be the one that best shows off their rowdy humor. John ends his childlike reverie by cracking up his bandmates, narrating the tale of Prudence Farrow that inspired the song. “A meditation course in Rishikesh, India,” he declares. “She was to go completely berserk under the care of the Maharishi Mahesh Yogi. Everybody around was very worried about the girl, because she was going insaaaane. So we sang to her.”

8. “While My Guitar Gently Weeps”
There’s an early acoustic demo, but Take 27, recorded over a month later, rocks harder than the album version—John on organ, Paul on piano, lead guitar from special guest Eric Clapton. (George invited his friend to come play, partly because he knew the others would behave themselves around Clapton.) The groove only falls part when George tries to hit a Smokey Robinson-style high note and totally flubs it. “It’s okay,” George says. “I tried to do a Smokey, and I just aren’t Smokey”.

9. “Hey Jude”
Recorded in the midst of the sessions, but planned for a one-off single, Paul’s ballad is still in raw shape, but even in this first take, it’s already designed as a 7-minute epic, with Paul singing the na-na-na outro himself. Another gem on this box: an early attempt at “Let It Be,” with Paul’s original lyric showing his explicit link to American R&B: “When I find myself in times of trouble / Brother Malcolm comes to me.”

10. “Child of Nature”
Another treasure from Esher. “Child of Nature” is a gentle ballad John wrote about the retreat to India: “On the road to Rishikesh / I was dreaming more or less.” He scrapped it for the album, but dug it back out a few years later, wrote new words, and turned it into one of his most famous solo tunes: “Jealous Guy.”

11. “JULIA”
One of John’s most intimate confessions—the only Beatle track where he’s performing all by himself. You can hear his nerves as he sits with his guitar and asks George Martin, in a jokey Scouse accent, “Is it better standing up, do you think? It’s very hard to sing this, you know.” The producer reassures him. “It’s a very hard song, John.” “‘Julia’ was one of my dad’s favorites,” Giles says. “When I began playing guitar in my teens, he told me to learn that one.”

12. “Can You Take Me Back?”
The snippet on Side Four that serves as an eerie transition into the abstract sound-collage chaos of “Revolution 9.” Paul toys with it for a couple of minutes, trying to flesh it out into a bit of country blues—“I ain’t happy here, my honey, are you happy here?”

13. “Ob-La-Di, Ob-La-Da”
Paul spent a week driving the band through this ditty, until John finally stormed out of the studio. He returned a few hours later, stoned out of his mind, then banged on the piano in a rage, coming up with the jingle-jangle intro that gets the riff going. This early version is pleasant but overly smooth—it shows why the song really did need that nasty edge. A perfect example of the Beatle collaborative spirit: John might loathe the song, Paul might resent John’s sabotage, but both care too deeply about the music not to get it right.

14. “Sour Milk Sea”
A great George highlight from the Esher tapes—“Sour Milk Sea” didn’t make the cut for the album, but he gave it to Liverpool pal Jackie Lomax who scored a one-shot hit with it. (It definitely deserved to rank ahead of “Piggies,” which remains the weakest track on any version of this album.) “Not Guilty” and “Circles” are other George demos that fell into limbo—“Not Guilty” sounds ready to go at Esher, yet in the studio, it was doomed to over a hundred fruitless takes.

15. “Happiness Is a Warm Gun”
A tricky experiment they learned together in the studio, with John toying with the structure and his mock doo-wop falsetto. “Is anybody finding it easier?” he asks. “It seems a little easier—it’s just no fun, but it’s easier.” George pipes in. “Easier and fun.” John replies, “Oh, all right, if you insist.” It’s a moment that sums up all the surprising discoveries on this White Album edition: a moment where the Beatles find themselves at the edge of the unknown, with no one to count on except each other. But that’s when they inspire each other to charge ahead and greet the brand new day”.

This should be enough to exhaust and satisfy the music appetite before Christmas and, as I say, shall keep an eye out and report any new releases that are worth snapping up! This might sound like an expensive rundown but I think everything I have listed is worth getting involved with – not just my tastes and personal recommendations influencing! Have a look through these marvellous musical treasures and I know there is enough in there…

IN THIS PHOTO: The Beatles recording their eponymous album in 1968/PHOTO CREDIT: Getty Images

TO make you part with some pennies.

INTERVIEW: The Silent Comedy

INTERVIEW:

The Silent Comedy

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THE awesome band The Silent Comedy…

have been talking about their approaching album, Enemies Multiply, and what sort of themes are investigated throughout; why there was a slight gap since their last release and which musicians are inspiring to them.

I was eager to know how the band got together and how their sound has evolved since the very start; if there are any gigs booked in the diary; whether there are any rising artists we need to be aware of – they provide some useful advice for newcomers in music.

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

We’re doing well, thank you!

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

The core members of The Silent Comedy are Joshua Zimmerman (Vocals, Bass), Jeremiah Zimmerman (Vocals, Keys, Guitar); Justin Buchanan (Banjo, Mandolin, Guitar) and Chad Lee (Drums).

How did The Silent Comedy get together and find one another?

The development of the band, and its line-up, was a process of evolution over years. Obviously, Jeremiah and I are brothers so we met pretty early on. Justin is the only other member that was there at the very beginning of The Silent Comedy. We met him through some mutual friends when we were in high-school. Chad is our cousin and the newest member. We had several drummers over the years before he started playing with us.

Enemies Multiply is your forthcoming album. What can you say about the themes explored and the influences in the songs?

Enemies Multiply explores the feelings of dealing with hardship and adversity in life. The songs are anthems of frustration, anger and despair. We get influence and inspiration from our personal experiences as well as what we see in the world around us. Societal themes of our time from Brexit in the U.K., Donald Trump in the U.S.A. and the rise of dictators around the world mirror some of the upheaval and chaos that we experience in our own personal lives. The songs of this album track that narrative arc.

This is your first album in eight years. Was there a reason behind the gap?

It is actually our first release in five years. There are a number of reasons for the gap that would take a while to explain but a quick version is that we have all gotten caught up in other artistic pursuits and our own lives. We toured hard for a number of years and also needed a break from the road. It feels good to revisit the band after taking a step away.

In terms of music; what did you all grow up around and idolise when young?

Jeremiah and I were raised on the Folk music of the sixties - Bob Dylan, Simon & Garfunkel; Cat Stevens etc. We were also introduced to the roots of Blues music through ‘field songs’ and ‘spirituals’ that were sung by slaves in the American South. Traces of these influences can still be found in our music now.

How do you think you have developed and evolved since the start of your career?

Our sound has changed pretty drastically over the years. We were a more folky, acoustic act in the beginning. Over years of touring, we added a lot of the Rock influences that we love and the sound became a mixture of both. This album is considerably less Folk-oriented than we have been in the past. It’s a better representation of what our live show has developed into. We still write the softer acoustic songs, but we don’t play them live as often.

What do you hope to achieve by the end of 2018?

Releasing Enemies Multiply is our focus right now. We really want people to have access to this album because it means a lot to us. We’ll be doing a few release shows in California, then looking to do some more performing in 2019.

Have you each got a favourite memory from your time in music so far – the one that sticks in the mind?

Two show memories are particular stick with me over the years. We played KOKO in London with our good buddies The Heavy in 2013. That whole tour was amazing but that show was amazing! Another one was playing Wrex the Halls holiday show in our hometown of San Diego with Queens of the Stone Age, Cage The Elephant and Vampire Weekend.

Which one album means the most to each of you would you say (and why)?

That’s a really tough question! I don’t know if I could choose just one. Different albums are perfect for different times and moods…when it comes to the impact a single album has had on me then In the Aeroplane Over the Sea by Neutral Milk Hotel may be the one!

If you could support any musician alive today, and choose your own rider, what would that entail?

I have always wanted to play with Nick Cave and the Bad Seeds. That would be an amazing experience!

As far as riders go; our rider is pretty simple. Just some food and beverages make us happy. Nothing crazy!

Can we see you on the road this year at all?

We have several shows in California to celebrate the release of the new album. San Diego on October 13th and 19th and L.A. on October 18th.

What advice would you give to new artists coming through?

I would tell aspiring artists to really analyse what they truly want out of an artist’s life and what sacrifices that will require. It isn’t an easy life and I think a lot of people pursue it with unrealistic expectations.

 IN THIS PHOTO: Benjamin Booker

Are there any new artists you recommend we check out?

There is a guy named Benjamin Booker that I am really digging right now. He has a song called Slow Coming that has just gotten under my skin. I usually listen to it at least once a day.

Do you all get much time to chill away from music? How do you unwind?

We all have very busy lives outside of music. A couple of the guys had children recently; I am constantly traveling shooting and directing projects for television - so we don’t get very much chill time. When we do, we all have different activities to unwind. I like to go to my house in the forest in upstate New York and spend time in nature.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

I would have to say Slow Coming by Benjamin Booker since I mentioned that before!

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Follow The Silent Comedy

Official:

https://www.thesilentcomedy.com/

Twitter:

https://twitter.com/_SilentComedy

Facebook:

https://www.facebook.com/TheSilentComedyMusic/

Instagram:

https://www.instagram.com/thesilentcomedy/

SoundCloud:

https://soundcloud.com/the-silent-comedy

YouTube:

https://www.youtube.com/user/TheSilentComedy

PHOTOS:

The Joelsons

INTERVIEW: Poltrock

INTERVIEW:

Poltrock

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IT has been interesting speaking with Poltrock…

as he talks about his music and how he got into the business. I ask what the story is behind his latest track, Titanus, and what we can expect from his upcoming album, Machines – he reveals a few albums that are important to him and highlights a couple of rising artists to look out for.

Poltrock tells me what type of music he grew up around and, being based in Belgium, what the scene is like there; if there are there are going to be any gigs approaching; whether he gets time to unwind away from music – he chooses a great song to end the interview with.

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

Great, thanks! My single, Titanus, has just been released and I’m finishing the video as we speak. I’m running my own label so it’s kind of busy but the sun is shining in Brussels and I discovered this new espresso blend that keeps me going. 

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

I’m a Brussels-based producer and session keyboard player. I’ve been working behind the scenes for nearly two decades now. Now, I’ve finally decided to release my own stuff I’d been quietly compiling the last couple of years.

Titanus is your new single. Can you reveal the story behind the single?

I’m really glad about the track Titanus because it originated from a night jam with two of my favourite synths: the Novation Bass Station and the Dave Smith OB6. I basically approached this track like an improvising Jazz combo: I started jamming; left hand playing one synth, the right hand the other - got lost in the vibe of the moment and ended up six hypnotizing minutes later with 80% of the track finished. 

The piano melody was ripped off a remix I did for Belgian Rock band Triggerfinger and features my beloved muted piano. 

Machines is your upcoming album. I believe it completes a trilogy. What is the concept behind the trilogy and what stories inspired Machines?

The trilogy is my first release as a solo artist. Throughout the last couple of years, I’ve compiled a lot of improvisations and tracks and finally discovered that my material – although, thoroughly related by the presence of my ‘muted’ piano – was too diverse to be put on one album. That’s why I decided to split it up.

The first album, Mutes, introduces my signature piano sound with twelve short and intimate piano improvisations. The second album, Moods, immerses the same piano in dark ambient and cinematic soundscapes and the final album, Machines, introduces hypnotic synthesizer sequences, Techno beats and the use of ‘prepared piano’: mechanical modifications to make the piano sound like a ‘machine’.

Can you tell me what sort of music you grew up around? Which artists struck your ear?

I grew up listening to ’90s Indie-Rock and Hardcore. Victim’s Family, Nomeanso; Fugazi, that kind of stuff. Being a trained Jazz musician, I admit there is an awful lot of Bill Evans, Hank Mobley and Thelonious Monk in my current playlists.

The car is my favourite music listening habitat and there’s a plethora of cinematic, Electronic-Ambient artists to escort me on my tedious road trips: Tim Hecker (amazing new album!), Ben Frost; Stars of the Lid, Christina Vantzou; Deaf Center, Haxan Cloak; Oneohtrix Point Never; Fennesz, Rival Consoles…  

As you hail from Belgium; what is the scene like there in terms of music?

The Belgian scene is quite uncomplicated because of its small scale and is roughly divided into a Flemish and a French-speaking scene. Everyone knows everyone, basically. I live in Brussels so I find myself in the middle of both scenes. The Indie-Rock scene is very much alive and there’s a lot of interesting Electronic music going on.  

What do you hope to achieve by the end of 2018?

Well; I do hope my Machines album gets some international attention. My music definitely won’t appeal to everyone, but there’s an interesting underground scene that focuses on Electronic and Neo-Classical crossover. I’ll be releasing a remix E.P. as well with remixes by a lot of interesting artists and I have a lot of interesting collaborations going.   

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

Well. I’ve been around as a session guy for quite some time so there’s too many good memories to mention, actually… 

I can get equally thrilled by playing a sunset gig at an astonishing festival in the Tuscany mountains than from recording an intimate piano impro. on a rainy Monday afternoon.

Which three albums mean the most to you would you say (and why)?

The Rise and Fall of Ziggy Stardust and the Spiders from Mars - David Bowie

My favourite album as a teenager.

Bach: The Goldberg Variations - Glenn Gould

I had to play Bach as a child and even back then I really loved it. Bach has had a huge influence on the way I approach harmony and melody.

Immunity - Jon Hopkins

I’m a late bloomer when it comes to organic Electronic music. Immunity was an eye-opener.

If you could support any musician alive today, and choose your own rider, what would that entail?

Well. I’d be honoured to tour with Soulwax just to be able to take a peek at their amazing setup and collection of vintage synths.

Rider-wise; I’m happy with a nice gin and tonic, although a Bösendorfer Grand would be much appreciated of course.

What advice would you give to new artists coming through?

I teach Sound Design to future music professionals and I always advise them to diligently dig for their own musical identity. There’s no fun in mimicking other artists. 

Do you have tour dates coming up? Where can we catch you play?

I’ll start touring on 23. October in Belgium and Holland, which is exciting as well as frightening because I’ll be improvising surrounded by a grand piano as well as a rig of capricious vintage synths. A lot of things can go wrong from a technical point of view which is great fun (smiles).

Will you come to the U.K. and play at some point?

I’m in the middle of negotiating with U.K. agents and hope to come and play in the U.K. again very soon.

 IN THIS PHOTO: Tim Green

Are there any new artists you recommend we check out?

Releasing three albums a year doesn’t leave one with much time to discover new stuff. I’m afraid I keep digging up old guys like myself… 

Young London Techno artist Tim Green makes great stuff, though. And, there’s an amazingly talented Belgian Ambient artist called oaktree who will release a new album next year. We’ll be collaborating for a joint-release next year as well.

IN THIS PHOTO: oaktree

Do you get much time to chill away from music? How do you unwind?

I just recorded three albums next to my ‘day job’ as a session player and sound designer which leaves me, basically, no time to unwind unfortunately. Could be worse, though; I have the best job in the world!

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

I just love the last Rival Consoles album. Thanks for playing Persona

___________

Follow Poltrock

Official:

https://www.poltrock.be/

Twitter:

https://twitter.com/poltrockmusic

Facebook:

https://www.facebook.com/poltrockmusic/

Spotify:

https://open.spotify.com/artist/3U5a8SIa6RFDsmfzvn97cI?si=sJGKosICS5-L5V40DZk2PQ

YouTube:

https://www.youtube.com/channel/UCEfZ8sHa7yLL230M7hfyolQ

FEATURE: Gimme Some Truth: John Lennon at Seventy-Eight: The Ultimate Playlist

FEATURE:

 

 

Gimme Some Truth

IN THIS PHOTO: John Lennon/PHOTO CREDIT: Getty Images/Press 

John Lennon at Seventy-Eight: The Ultimate Playlist

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TODAY would have been John Lennon’s seventy-eighth birthday…

 IN THIS PHOTO: John Lennon with Yoko Ono/PHOTO CREDIT: Getty Images/Press

and it seems extra-poignant he is not around and putting music into the world. I feel, given the state of affairs right now, he would have plenty to stage and, most likely, would be allying with his Beatles mate Paul McCartney in protesting – at least speaking out and making sure he was being heard! Lennon was murdered on 8th December, 1980 and, for someone who promoted peace and togetherness throughout his career; it is always hard looking back and the way he departed the world. Rather than dwell on the bad aspects and the tragedy; I have been thinking about his extraordinary career and how his music always remained pivotal.

Maybe his focus waned a bit during his later, solo period but you could never accuse the master of being boring or predictable! He is rightly regarded as one of the greatest songwriters ever and, at a time when we need that noble truth, peace and leadership; I feel John Lennon’s messages and songwriting genius are required so much! As we remember the icon and wonder, if he were alive, just what would he be writing about; let’s mark his seventy-eighth birthday by enjoying his very finest songs. From the debut album from The Beatles through to his final studio efforts; there are few songwriters as inspiring, mindblowing and treasured…

 IN THIS PHOTO: John Lennon with The Beatles/PHOTO CREDIT: Hulton Archive/Getty Images

AS John Lennon!

FEATURE: A Single Voice: The Influence of Musicians in Politics

FEATURE:

 

 

A Single Voice

IN THIS PHOTO: Taylor Swift/ALL PHOTOS (unless credited otherwise): Getty Images/Press 

The Influence of Musicians in Politics

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THE role of the musician in political life is nothing new…

 PHOTO CREDIT: @lukemichael/Unsplash

but there seems to be this guarded approach to speaking out when it comes to democracy! It is not the case with every gene/nation but, I don’t know…something is lacking. I am not sure how many big artists are told when to speak about politics and whether they can have their say but I get the impression some of the mainstream’s elite and carefully marketing and manoeuvred so that they do not make a faux pas. The same cannot be said of Kanye West: the man seems to have no filter and he does tend to run his mouth whenever the moment strikes him. He is a big supporter of President Donald Trump – no shocks when you stand them side-by-side – and I wonder how much of an impact that makes on his sales figures. I am sure a lot of his hardcore fans support Trump and back everything he says but I know a lot of former Kanye West fans have turned away and been put off by his political views. He is reprimanded when he makes a stupid comment – which is quite a bit – but his ego and freedom of speech and, for the most part, allowed to run and indulge as they see fit. I feel the rules are slightly different for the Pop market. Taylor Swift made the news recently because she has come out in support of the Democrat candidate in Tennessee – where she is registered to vote – and, because of that, there has been a leap in terms of the number of young voters...

 IN THIS PHOTO: Kanye West

The Guardian reported the story:

“The US voter registration service has experienced a spike in numbers after Taylor Swift – long silent on partisan issues – expressed her support for two Democratic candidates and encouraged her 112 million Instagram followers to register to vote in time for next month’s US midterm elections.

Kamari Guthrie, the director of communications for vote.org, told Buzzfeed News there were 65,000 registrations in the 24-hour period after the singer posted her statement to Instagram on Sunday.

Swift focused her post on the Senate race in Tennessee, where she is registered to vote. She stated that although she had previously voted for women in office, she felt unable to support the Republican Senate candidate, Marsha Blackburn. “Her voting record in Congress appalls and terrifies me,” she said, adding that she would be voting for the Democratic candidates Phil Bredesen for Senate and Jim Cooper for House of Representatives.

In her post, Swift affirmed her commitment to the fight for LGBTQ rights and described the “systemic racism” towards people of colour in the US as “terrifying, sickening and prevalent”. She encouraged her young fans to educate themselves on their local candidates and “vote based on who most closely represents your values”.

The reason I have raised this post is because a lot of commercial musicians are told to keep away from politics and not really engage that side of things. Maybe there is a fear that coming out in support of one party would damage their popularity: labels want artists to be neutral so, that way, they can appeal to all sides.

One may feel politics and music have no link and connection but just look at how Taylor Swift has galvanised and incentivised many young people who, before, were undecided voters or passive. Swift is a lover of those ignored by the U.S. Government and, in her music, she has spoken about gay rights and liberty; she is a conscientious writer and performer who wants her young audience to think more deeply about their country. Many might say that, by coming out in support of the Democrats; she is guiding her fans to them and making them decide. The thing is, Swift hasn’t come out in firm support of one candidate or another. Instead, she has encouraged many to vote and has revealed a lack of trust in a Republican candidate. It can be hard speaking about politics when you have a high-value record deal that makes millions – there is a nervousness when their big stars voice their politician preferences. I know many popular personalities in the U.K. are told to remain neutral – especially when it comes to T.V. and radio talent – but, for musicians, there is this platform to have a big say. Swift has increased the number of young voters and I feel her peers should follow suit. Artists like her hold a lot of sway and influence and, rather than push their fans to one party or another; that desire to see them vote and participate in the democratic process is crucial.

 IN THIS PHOTO: U.S. President Donald Trump/PHOTO CREDIT: John Lamparski/WireImage/Getty Images

We all know Donald Trump is leading America into a colonial black pit of despair and dictatorial rule; he is unconcerned with anyone but himself and, whilst Taylor Swift knows this, she has not come out and been that explicit. Musicians are potent and inspiring people who are listened to, bought and followed by armies (of fans). There is a certain rule and commercial sense of caution when it comes to the material some can produce and what they talk about in interviews but I feel, more and more, artists are having their say and keen to express their opinions. Swift’s recent statement is a breakthrough that I would like to see firmly supported. Depending on the genre, I guess, depends on how much an artist can vocalise their political preferences. Take Hip-Hop and Rap artists like Kanye West and Eminem: on different sides of the fence but both definitely unafraid to speak out and get their voices heard! Pop might be a different game and, to be fair, a lot of the traditional demographic might not be that involved or aware of politics. That is a generalisation but it is harder to motivate and connect with certain people. (I don’t know). What I do know is that the musician is key when it comes to highlighting concerns and inspiring. In the U.S., there are those opposed to Trump and unafraid to have their say…

 PHOTO CREDIT: @clemono2/Unsplash

Others talk about black lives and gun violence; some sing about environmental concerns or what is happening regarding immigration. Artists write about the society they live in so, naturally, politics plays a big part. Another reason why Taylor Swift ‘breaking a silence’ – so to speak – is so important and big is because it shows artists her age are concerned with what is happening and not remaining passive. I would like to see Swift, in future, funnelling her politics and activation into her music more. I feel she can make a genuine difference and, given her influence and status in the U.S., she can reach a lot of people and help affect betterment. From Hip-Hop pioneers and legends like N.W.A. directly aiming their anger at U.S. politicians and pointing the finger; there has always been that link between music and politics. This interesting article from Live for Live Music gives a chronology regarding musicians and encouraging others to vote:

“The tumult of the sixties was a direct result of a generation born from the returning soldiers of the second World War.  The horrors endured by their parents turned them against the conflict, but after an entire decade of railing against the military industrial complex and unjust wars abroad, a sense of disillusionment came over the country and the era of the protest song slowly faded away. It’s no wonder that John Lennon’s “Give Peace A Chance” became such an anthem at the end of a difficult decade”.

PHOTO CREDIT: @christianw/Unsplash 

“The American counterculture war veterans were slowly getting lost in the so called “Me Decade” of self indulgence that was the seventies. Though the flames of protest seemed to cool after the conflagration of the sixties, the fires still burned bright overseas.  In England, a wave of anarchic music gave voice to the growing sentiment of disillusionment and distrust among the increasingly angry youth. Jobs were scarce, especially for the young and untrained.  The combination of youthful energy and lack of any positive release turned the country into a simmering stew of resentment.  Protesters took to the streets, as an increasingly radical populace carried out acts of building aggression towards the elite.  Punk rockers the Sex Pistols were born of that rage, and vented it in their seminal hit “God Save The Queen.”

In 1990 Rock The Vote, a new, non partisan non-profit was founded to promote voter registration among the America’s youth.  Their marketing snazzy blend of big name band and artist endorsements and political activism worked well out of the gate with their debut PSA featuring Madonna in dressed only in her underwear and the American flag.

In 2004, Disco Biscuits bassist Marc Brownstein and his friend Andy Bernstein founded the nationwide non-profit HeadCount. In many ways, HeadCount was the next logical step forward along the path started by Rock The Vote. This new activist group takes registering to vote to the people, setting up shop at concerts and festivals around the nation. Keeping themselves non-partisan, HeadCount has set up registration booths at concerts and festivals all across the country, using an ever growing army of volunteers who see the value of a politically vocal population”.

It is not only U.S. artists like Taylor Swift who have been compelled to become more involved in political concerns. Here in the U.K., Sir Bob Geldof has penned a letter that has been signed by a number of high-profile musicians. Here is how the story has broken:

“Ed Sheeran, Damon Albarn and Brian Eno are among the musicians who have co-signed a letter written by Bob Geldof to Prime Minister Theresa May warning that Brexit is "serious madness" and threatens "every aspect of the music industry".

The letter, backed by dozens of big names from pop, rock and classical music, calls on May to rethink her plans for leading Britain out of the European Union.

"We are about to make a very serious mistake regarding our giant industry and the vast pool of yet undiscovered genius that lives on this little island," says the letter, published in The Observer newspaper on Sunday.

"We have decided to put ourselves inside a self-built cultural jail! The very opposite of wall-destroying, prejudice-denying, ideas-generating that is the very essence of contemporary music."

Britain voted narrowly to leave the EU in a divisive 2016 referendum and is set to leave in March next year.

May has repeatedly said that the EU's freedom of movement rules, which allow its citizens to live and work across the 28-member bloc, would no longer apply to Britain after Brexit”.

 IN THIS PHOTO: Sir Bob Geldof

The U.K., post-Brexit – if it will ever come… – will become a very different place for music. One feels the plight of foreign musicians will be a lot harder and how easy will it be for international artists to make their way here?! Exporting and import music out to the world and the way the music industry has operated for generations in the U.K. will change and be constricted. It is good artists are concerned and compelled to get involved. Rather than sit back and be afraid any sort of political leaning will cost them fans; they know what is right and realise they have a role to play. The sort of action taken by the likes of Albarn and Sheeran will inspire their fans and, let’s hope, help provoke action. A lot of modern-day artists are eschewing political opinions and reacting to what is unfolding in Britain. From IDLES talking about immigration and change on Joy as an Act of Resistance to Nadine Shah speaking about immigration and hostility on Holiday Destination; newcomer Sam Fender addressing meaty topics on Dead Boys and Skepta blasting Prime Minister Theresa May regarding her stances and actions concerning Grenfell – the music industry in this country can hardly be accused of being passive and inactive! I feel musicians can provide greater influence than politicians because their messages are not being doctored and mired in subterfuge.

 IN THIS PHOTO: Nadine Shah

Even the ‘good’ politicians out there are being drowned out or having their words scrutinised by the press. You are never sure who to believe and, even when a politician is speaking about the pitfalls of Brexit or the plight of global warming; there are contradictions, press intrusion and a certain sense of guarded honesty – what they are told to say by spin doctors and how they actually feel! T.V. personalities and D.J.s are less able to be explicit regarding their views because of their contracts and the organisations they work for. There are so many important figures out there who are not truly able to say what they believe. Aside from a few musicians who are closely watched by labels and risk losing their fanbase if they are too political; the industry, largely, is less oppressive regarding protest and opinion. Taylor Swift has managed to instantly increase voting numbers in the U.S. How long would it have taken a news station, radio D.J. or actor to get that same sort of ball rolling?! I feel it would have taken longer for them to compel awareness and the same can be said in the U.K. regarding Geldof’s letter. I am hearing musicians in this country blast the Government and speak out against everything from Brexit and immigration rules to their handling of the Grenfell tragedy and what little money is being assigned to the NHS.

 PHOTO CREDIT: @rawpixel/Unsplash

Music, in a way, is this more open and less bias channel that is not being interfered with by broadcasters and made murky by sneaky political figures – rehearsed speeches, false statistics and a general amount of bullsh*t. For decades, musicians have got involved in politics but I feel the world is more divided, in trouble and fearful than it has ever been. That might sound hyperbolic but I feel, what with global warming, political insanity and the divisions we are feeling; have we ever been a more fractured, troubled and less-well-off people?! D.J. Chris Hawkins spoke to bands for his brilliant series, Band Politics, and it was a chance for us to hear from artists like Cabbage and Nadine Shah about their views and how they are addressing politics and British society through their music. I feel, in a way, musicians have a much more honest, powerful and impressive voice than any political figure out there. If there was a way of setting up an organisation or body whereby artists would unite and, in a sense, form their own political alliance; just how far could they go and how quickly could they force politicians to act?! It is interesting to think but not a thought I am comically tossing out into the world. A lot of the musicians speaking out are working-class and know what it is like to feel isolated, struggle and troubled by what is happening in the U.K. – how many of those elected know that or have ever had to struggle in their lives?! I feel a music-led coalition of resistance would be a great thing and could help move the country forward.

 IN THIS PHOTO: N.W.A

In any case; we are living in a time when musicians play a bigger and more important role in politics than ever before. I look back at Folk artists like Dylan who rebelled in the 1960s and Hip-Hop artists in the 1980s and 1990s that attacked their leaders. It seems like all the problems they vocalised are present today and there are more alongside them. We have fewer political bands/singers in the mainstream but now, in 2018, there are plenty of artists willing to get involved with politics – whether it is songwriting and talking about various issues or signing letters, for example. I have often bemoaned the lack of political voices high-up in music and wonder whether the mainstream should attune its big artists to be more socially-aware and involved. Maybe there is that fear politics is not their place or there is that risk of bias when it comes to voting but I feel it is possible to be partisan and morally-conscientious without imposing personal politics and brainwashing. Big labels need to loosen the strings and realise how integral politics and music have always been. The movements we have seen from artists like Taylor Swift, Rita Ora and Ed Sheeran are just the start of things – I wonder what more is to come! There are fantastic and bold artists out there who are making more of an impact on my mind and awareness of the world than any politician I am hearing! A musical platform is a very special and privileged thing and, away from the mass of artists bleating about heartache and their own lives; shining a light on the wider world and documenting something much more important should be top of the agenda. One might feel a few words from Taylor Swift is quite insignificant but when you see what an immediate and visible impact they have ALREADY made; you then realise just how influential, necessary and powerful…

 IN THIS PHOTO: @kslupski/Unsplash

MUSICIANS truly are.

INTERVIEW: AVEC

INTERVIEW:

AVEC

___________

AVEC has been talking with me…

about her latest track, Under Water, and what it was like filming its brilliant video. I ask the Austrian artist what the scene is like in the country and whether there is a rising artist to watch out for – AVEC reveals plans in regards touring and more material.

I ask how she feels she has progressed since the start of her career; which artists have made the biggest impression on her; what is the best compliment she has been paid; if there is anything she hopes to achieve by the end of the year – she ends the interview by selecting a great track.

__________

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

All good here in Austria (smiles).

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

My name is AVEC. I am a singer/songwriter from Austria. I started writing my own songs when I was about fourteen-years-old. In 2015, I released my first E.P., Heartbeats, followed by the debut record, What If We Never Forget, in 2016. Now, my second record Heaven / Hell is out and I’m going on tour through Europe in autumn.

Under Water is your new track. What is the story behind the song?

I think the song, Under Water, is the most honest one I’ve ever written so far. The lyrics are pretty rough and kind of relatable to everybody. The line “Breathing under water“ perfectly describes the pain and the struggle of being honest with yourself and being honest with everybody else.

It hurts and you might hurt people by being honest but it’s the only way to keep on going, to get through with whatever you’re dealing with - be honest; stay honest and be true to yourself - otherwise those feelings and thoughts will eat up your mind!

The video is rather cool! How did you feel watching it back for the first time?

When I watched it the first time, I got goosebumps all over my body! It moved me and it touched me - I really love it!

Is there going to be more material coming next year?

Let’s see - maybe (smiles).

PHOTO CREDIT: Kidizin Sane

In terms of your career; how do you think you have progressed and changed since the start?

I grew a lot in those two years in between my records. When I started recording my first album, I was only eighteen-years-old; I didn’t know anything about the whole business and about who I really am. I am now twenty-three and I grew a lot with my record Heaven / Hell. I write about things differently; I look at things differently; I’m more reflected and just grown-up I guess. I know what I want and where I stand and that is so important. 

As an Austrian artist; what is the nation like regarding music? Is it an interesting place to record in?

There’s a lot of amazing music coming out of Austria. It’s sort of a ‘boom’ right now, which is really sweet! It’s definitely a great place to record in (smiles).

PHOTO CREDIT: Kidizin Sane

Which artists have been the biggest influences on you personally?

Bon Iver (Justin Vernon), John Mayer; Daughter, Sharon Van Etten…

What do you hope to achieve by the end of 2018?

By the end of 2018, I’d love to say that the album did really good and the tour went amazing - that would be nice (smiles).

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

Music just makes me happy; it’s the only thing that can make me feel truly and completely happy and whole again.

What is the best compliment your music has ever received in your opinion?

I’ve seen people cry tears of joy and sadness at my shows (both ways) and I think that’s one of the best compliments: to see people moved by my music.

Is there any instrument you still wish to master?

I’d love to play the piano properly (smiles).

Do you have tour dates coming up? Where can we catch you play?

In regards tour dates; check out my Facebook and website.

IN THIS PHOTO: Travis Is a Tourist

Are there any new artists you recommend we check out?

Travis Is a Tourist.

Do you get much time to chill away from music? How do you unwind?

At the moment, not really. But, normally, I go out into the nature to free my mind.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

In Their Thousands - Acrasia

___________

Follow AVEC

Official:

http://officialavec.com/

Instagram:

https://www.instagram.com/officialavec/

Twitter:

https://twitter.com/avec_music

Facebook:

https://www.facebook.com/officialAVEC/

Spotify:

https://open.spotify.com/artist/6N8vbhxZ0CYJHd8WGJ9Snf

YouTube:

https://www.youtube.com/channel/UC4vbbYmRRVuXGPlagPGIS6g

SoundCloud:

https://soundcloud.com/avec_official

FEATURE: Bookends: National Album Day: The Best Opening and Closing Album Tracks Ever

FEATURE:

 

 

Bookends

PHOTO CREDIT: @anniespratt/Unsplash
 

National Album Day: The Best Opening and Closing Album Tracks Ever

__________

CONTINUING the National Album Day-inspired train rolling…

 PHOTO CREDIT: @adigold1/Unsplash

it gets me thinking about those all-important bookends: the epic opener and scintillating closer. Few albums manage to have ‘perfect’ opening/closing tracks although, as this list shows, it is not impossible! You want to grab the listener from the off so it is vital going in strong and creating something wonderful – you do not want to sap too much energy or have your best track at the top, mind! That said; you should think about putting your best track last as that ends things on a high – if the material before is a bit so-so then are people going to be invested enough to make it that far?! It is a tough act to master but I think the opening and closing songs are the most crucial parts of any album. If you can hook the listener from the first notes then you have them: if you create a masterful finale then they are going to be primed for the next album! In that spirit, I have been flicking through those albums that have brilliant openers and closers and separating them into two lists. See if you agree with these selections but here are, in my view, the best opening and closing album tracks…

 PHOTO CREDIT: @matteopaga/Unsplash

THERE have ever been.

ALL ALBUM COVERS: Getty Images

______________

THE BEST OPENING TRACKS EVER

 PHOTO CREDIT: @priscilladupreez/Unsplash

The Strokes - Is This It

Album: Is This It

Release Date: 30th July, 2001

The Rolling Stones - Gimme Shelter

Album: Let It Bleed

Release Date: 5th December, 1969

PJ Harvey - Rid of Me

Album: Rid of Me

Release Date: 4th May, 1993

Nirvana - Smells Like Teen Spirit            

Album: Nevermind

Release Date: 24th September, 1991

The Clash - London Calling

Album: London Calling

Release Date: 14th December, 1979

Michael Jackson - Wanna Be Startin’ Something

Album: Thriller

Release Date: 30th November, 1982

LCD Soundsystem - Dance Yrself Clean

Album: This Is Happening

Release Date: 17th May, 2010

David Bowie - Five Years

Album: The Rise and Fall of Ziggy Stardust and the Spiders from Mars

Release Date: 16th June, 1972

The Velvet Underground - Sunday Morning

Album: The Velvet Underground & Nico

Release Date: 12th March, 1967

Björk – Human Behaviour

Album: Debut

Release Date: 5th July, 1993

Rage Against the Machine - Bombtrack

Album: Rage Against the Machine

Release Date: 3rd November, 1992

Prince - Let’s Go Crazy

Album: Purple Rain

Release Date: 25th June, 1984

Amy Winehouse - Rehab

Album: Back to Black

Release Date: 27th October, 2006

Madonna - Music

Album: Music

Release Date: 18th September, 2000

Pulp - Mis-Shapes

Album: Different Class

Release Date: 30th October, 1995

Led Zeppelin - Good Times Bad Times

Album: Led Zeppelin

Release Date: 12th January, 1969

Tori Amos - Crucify           

Album: Little Earthquakes

Release Date: 6th June, 1992

The Beatles - I Saw Her Standing There

Album: Please Please Me

Release Date: 22nd March, 1963

The Streets - Turn the Page

Album: Original Pirate Material

Release Date: 25th March, 2002

Guns N' Roses - Welcome to the Jungle

Album: Appetite for Destruction

Release Date: 21st July, 1987

Bob Dylan - Like a Rolling Stone

Album: Highway 61 Revisited

Release Date: 30th August, 1965

Beyoncé (ft. Jay-Z) - Crazy in Love

Album: Dangerously in Love

Release Date: 23rd June, 2003

The Beach Boys – Wouldn’t It Be Nice

Album: Pet Sounds

Release Date: 16th May, 1966

Radiohead - Everything in Its Right Place

Album: Kid A

Release Date: 2nd October, 2000

Paul Simon - The Boy in the Bubble

Album: Graceland

Release Date: 25th August, 1986

The White Stripes - Seven Nation Army

Album: Elephant

Release Date: 1st April, 2003

Iggy and the Stooges - Search and Destroy

Album: Raw Power

Release Date: 7th February, 1973

Kate Bush – Running Up That Hill (A Deal with God)

Album: Hounds of Love

Release Date: 16th September, 1985

THE BEST CLOSING TRACKS EVER

 PHOTO CREDIT: @dmitrybayer/Unsplash

Oasis - Champagne Supernova

Album: (What’s the Story) Morning Glory?

Release Date: 2nd October, 1995

Nine Inch Nails - Hurt

Album: The Downward Spiral

Release Date: 8th March, 1994

The Beatles - A Day in the Life

Album: Sgt. Pepper’s Lonely Hearts Club Band

Release Date: 26th May, 1967

Muse - Knights of Cydonia

Album: Black Holes and Revelations

Release Date: 3rd July, 2006

Prince - Purple Rain

Album: Purple Rain

Release Date: 25th June, 1984

Television - Torn Curtain

Album: Marquee Moon

Release Date: 8th February, 1977

Childish Gambino - That Power

Album: Camp

Release Date: 15th November, 2011

LCD Soundsystem - New York, I Love You But You’re Bringing Me Down

Album: Sound of Silver

Release Date: 12th March, 2007

Lynyrd Skynyrd - Free Bird

Album: (Pronounced 'Lĕh-'nérd 'Skin-'nérd)

Release Date: 13th August, 1973

The Doors - The End

Album: The Doors

Release Date: 4th January, 1967

Elliott Smith - Say Yes

Album: Either/Or

Release Date: 25th February, 1997

Kanye West - Who Will Survive in America?

Album: My Beautiful Dark Twisted Fantasy

Release Date: 22nd November, 2010

David Bowie - Rock ‘N’ Roll Suicide

Album: The Rise and Fall of Ziggy Stardust and the Spiders from Mars

Release Date: 16th June, 1972

The Beatles - Tomorrow Never Knows

Album: Revolver

Release Date: 5th August, 1966

Bruce Springsteen - Jungleland

Album: Born to Run

Release Date: 25th August, 1975

Kate Bush - Walk Straight Down the Middle

Album: The Sensual World

Release Date: 16th October, 1989

M.I.A. - Galang

Album: Arular

Release Date: 22nd March, 2005

The Jimi Hendrix Experience - Voodoo Child (Slight Return)

Album: Electric Ladyland

Release Date: 16th October, 1968 (U.S.)

Radiohead - Street Spirit (Fade Out)

Album: The Bends

Release Date: 13th March, 1995

The Chemical Brothers - The Private Psychedelic Reel

Album: Dig Your Own Hole

Release Date: 7th April, 1997

Nick Drake - Saturday Sun

Album: Five Leaves Left

Release Date: 3rd July, 1969

Nirvana - All Apologies

Album: In Utero

Release Date: 21st September, 1993

Pink Floyd - Eclipse

Album: The Dark Side of the Moon

Release Date: 1st March, 1973

INTERVIEW: Tim Freitag

INTERVIEW:

PHOTO CREDIT: Alexis Saile 

Tim Freitag

___________

I have been speaking with Janick of…

 IMAGE CREDIT: Alexis Saile 

Tim Freitag and he has been telling me how the Swiss band got together and what the music scene is like in the country. I ask what the story behind the single, By Your Side, is and what it was like putting the video together; what music inspires the band and what comes next for them.

Janick discusses an album that means a lot to him; how he chills away from music; which Swiss artists are worth watching; what advice he would give to artists emerging right now – he ends the interview by selecting some good songs.

__________

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

Hi. Great, thanks! This is Janick, the singer of the band. We’ve just announced a four-part instalment of individual, unique October remixes of By Your Side. The remixes couldn’t be more different from each other: there’s even an Electro-Swing version of it. It’s crazy! Every Friday in October we drop a single, so keep an eye on our socials or follow us on Spotify (smiles).

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

We're a band of brothers (from other mothers!), totally on our own; surrounded by a small patch of friends that help us out; steadily and continuously building up a growing, loyal fan base. We're trying to create a unique sound that levitates somewhere between melancholy and euphoria. Some say reminiscent of Bono and his band, probably because of our track, Bruises. Others compare us to Tom Odell or even Phoenix. Journalists and people in general try to put things in boxes; I like that it's kinda hard to do that with our sound: every song stands on its own.

How did Tim Freitag get together? When did you find one another?

I met Severin Graf - our bass player - in 2013 at Dynamo Zurich at my rehearsal studio. He was practicing just next door with another band and people told me that he’s one of the best bass players of the city. I knew that I needed the best people to get a great band, haha, so I watched him for a few days and what was pretty obvious was that he always drank Coke. One day, I went up to him, offered him a coke and invited him to my studio to listen to some demos. He liked it; I asked him to record on a few songs with us and play live. He said ‘yes’. That’s why he’s in the band. To keep him in the band, I sometimes still give him a Coke…but I guess that’s not necessary anymore (smiles).

Daniel Gisler is our keyboard player. He was the latest that joined the band in spring 2017. He actually told me that he has no time and could only join us for one concert. I didn’t really believe him but, to make sure that he stays, I organized a photographer that took a band photo before the soundcheck of that one concert that he said he was gonna play. After the concert I told him: “Sorry Daniel, you can’t quit; you’re now on our official press photo”. He said that’s cool and since then he’s been loyal to me.

PHOTO CREDIT: Biho Song

Lorenzo Demenga is also a founding member. He was in love with a song that we never released called Dream Again. In every rehearsal he says, “Let’s play that song”. He believes that it’s gonna be a world hit and told me once that he’s not quitting the band before he can play drums on it. That’s why I will never record that song: so he will never leave the band.

Nicolas Rüttimann is our guitarist. He was there from day-one. Actually, our first producer showed him the song, Another Heart Has Lost Its Place, and that was the tipping point. He said that, if we’re recording the song, he’s gonna be in the band. I did just that. And he even organized the shooting of the music video. Also; one of his dreams is to be on a poster with Tim Freitag in a music store. Let’s hope that never happens! I fear that if he reaches that goal that he’ll think he’s achieved everything now and can retire.

By Your Side is your new song. Can you talk about the story behind it?

I don’t really like to talk too much about the lyrics: I like that people can make up their own story or attach it to a feeling. Sometimes, other artists destroy that for me when they explain in depth what they thought. But, on the surface it’s a classic love song and the muse isn’t reciprocating with the same feelings.

Talk to me about the video. What was it like to shoot? Who came up with the concept?!

I really don’t like to swim. Never did. This year, I had a date with a girl; she wanted to go swimming; I said I’m cool with it; she went into the river of Zurich and I just sat there and watched. It was so embarrassing. After she was done we had a drink and said goodbye to each other. She never called or texted again. To defeat my swimming trauma, and to finally get a girl, I decided to do a music video in the water.

The boys staged it like a group therapy; chose the smallest spa and told me to go into the water with them. It helped: after the shooting, I started to go to the lake of Zurich almost every day at night, all by myself, to decompress. It’s actually quite beautiful. But, hey; Mick Jagger’s daughter said in an interview that she never saw his father dipping even a toe into the water…so it’s actually not that embarrassing anymore for me (smiles).

Do you think there will be more material coming down the line?

Yes, definitely. We can’t wait to release our next single by the end of November 2018. In spring 2019, we’re finally dropping the album.

You are a Swiss band. Is there a healthy and varied music scene there?

There are amazing Swiss artists around. From Blues-Metal band Zeal and Ardor (Tip: Devil Is Fine) to the Pop group Boy (Tip: Seven Little Numbers); amazing Indie artist Sophie Hunger (Tip: Tricks) or German singer Faber who is conquering Germany at the moment (Tip: Wem du’s heute kannst besorgen).

PHOTO CREDIT: Alexis Saile 

If I were to travel back to your childhoods; what sort of music would I find in your collections?

I was a big DJ Bobo fan. For Severin, our bass player, I know that he only started making music because of Celine Dion. Lolo, our drummer, still secretly listens to Kylie Minogue when he's feeling sick or down. Guitarist Nicolas never listened to music before Tim Freitag and Gisi, our keyboarder, only listens to Harry Potter audiobooks in a permanent playback loop. 

What do you hope to achieve by the end of 2018?

Getting the last tracks of the album to a safe place in the recording process.

Have you got a favourite memory from your time in music so far – the one that sticks in your mind the most?

In 2017, we performed at the Parterre in Basel to an audience of twenty people - ten of those were friends from Zürich. Problem for us was there was an FCB match that very night!

Barely a year later, we played during the BScene to a full-house in the Kaserne Basel. But…BOTH concerts were fantastic. It doesn’t matter whether you make ten or three-hundred spectators happy; the pleasure is the same.

Which one album means the most to you would you say (and why)?

The Mars Volta - De-Loused in the Comatorium

A friend introduced me to them when I was sixteen. I listened and really did not like them at all. Because I liked the guy, I really tried to understand why he likes that band. I tried for two weeks and finally I got into them. Sometimes, it’s nice when music isn’t opening up from the beginning. And, every time I listen to them, I discover new things and sounds. I also just love Cedric’s voice and Omar’s guitar playing.

 PHOTO CREDIT: Biho Song

Might we see some tour dates coming up? Where might we be able to catch you play?

After our intensive Breaking Hearts Tour this summer, we’re taking a little break. We’re playing a few gigs in Switzerland in November and December but take a step back to focus on the album recording. The record release party will be in Kaufleuten - Zurich’s oldest concert venue - on 14th April. We’re very excited. To keep up to date with our tours, just check www.timfreitag.com or follow us on Songkick.

What advice would you give new artists coming through?

Don’t dream; work hard!

Do you get much time to chill away from music? How do you unwind?

I like to decompress in the mountains. I always do that shortly before I’d get a burnout. It helps (smiles).

Finally, and for being a good sport; you can choose some songs and I’ll play it here (not any of your music – I’ll do that!).

As my guys are not here, I’ll take the liberty to choose five songs that got me through:

Hindi Zahra (ft. House of Spirituals) - The Moon

CAKE - Never There

Kunzite - Minerals

Warhaus - Leave with Me

Two Face Twin - Socotra

Haha! That last one is cheating, actually: it’s a song from my side project together with the amazing singer Carla Fellinger! Check it out.

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Follow Tom Freitag

PHOTO CREDIT: Alexis Saile 

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FEATURE: Visible Touch: National Album Day: Why the Tactile Nature of Music Is Ever-Important and Cannot Be Undone by Digital Methods

FEATURE:

 

 

Visible Touch

IMAGE CREDIT: Getty Images 

National Album Day: Why the Tactile Nature of Music Is Ever-Important and Cannot Be Undone by Digital Methods

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MAYBE that heading is a mouthful…

 IMAGE CREDIT: National Album Day/BBC Music/Getty Images

but my latest National Album Day-related piece – I will not post too many more before Saturday; maybe a couple more – looks at one of the most important reasons for celebrating the day: studying albums in their physical form and bring present with others who love the physicality of musical tradition. One cannot engage in a National Album Day and solely look at digital methods and what is being played on the Internet. Of course, we all rely on the Internet and many of us get our music that way but that is not to say Saturday’s album celebration is a retro thing that harks back to past times – a nostalgia trip that we engage in and will be forced to shell money over to afford vinyl and albums on hardware. It is a non-committal day where we can mark the album as a format that is crucial and, in this digital age, been reduced and overlooked somewhat. This, like my last article, is something I have addressed before but one reason why people will always long for the album and love what it is about is the tactility and physical side. I have just been sent an album for review on cassette and it may provoke laughter and snorts. Cassettes are still a big thing and, as Mixmag highlighted earlier this year; we still have a definite hunger and love for the humble cassette:

“According to Official Charts, cassette sales account for a minuscule 1% of music sales in the UK, with just 22,000 copies sold in 2017. This low number is staggering when one thinks how cassettes were the leading format for audio 27 years ago. While that is far from the case today, in recent years, there has been a strong resurgence, with sales close to or more than doubling each year since 2015. Now in 2018 there looks to be an even stronger increase with 18,500 copies sold in just six months. At this time last year, only 9,753 copies had been sold. So it looks like another big comeback year is in store for cassettes, right?

IMAGE CREDIT: Music Week 

“The reason for this huge jump in sales in 2018 is due to a large amount of mainstream releases that appeal to the larger market of listeners and collectors. The leading cassette sold this year so far is Kylie Minogue's new album 'Golden' with 2,847, that was released as a limited edition glitter-gold clear cassette around the time she played at Berghain. Next up is the Guardians Of The Galaxy Vol. 2soundtrack followed by Snow Patrol's new album 'Wildness' and the 30 Seconds to Mars album 'America'.

Similar to the current vinyl resurgence, it's the new mainstream releases that are yielding the resurgence rather than the culty, underground cassettes released by labels like Opal Tapes, 100% Silk, Awesome Tapes From Africa, Whities, Pale Master and Handmade Birds among others. That being said, the overall appeal of cassettes is attracting listeners and collectors”.

A lot of the sales can be explained by a nostalgic lust but, in a lot of cases, artists want something they can hold and actually give to people directly. Independent labels are among the biggest market for cassettes and it seems the public love the tactile nature of cassettes and what they offer. I remember experiencing them as a child and, although they were a pain in the arse at times – they would unspool and get jammed in the player – it was great to have something in my hand that I could swap with a friend and it felt like an actual purchase. If I went to a record shop and bought a cassette; it would excite me and I miss that rush and nourishment you get with a physical product. More and more, record shops are holding cassette days and there is an annual cassette day that is only a few days away!

 IMAGE CREDIT: Lion Coffee & Records

It is surprising so many people are ordering cassettes and they have made such a comeback. I can understand it personally but the limitations of the format – having to rewind and forward the tape to exact points; having no way of jumping to a particular track; the fragility and capriciousness of tapes – but it is wonderful, as I say, having something physical to hold and swap. Maybe C.D.s are that awkward middle-ground between vinyl and tape – compact enough but there is not the same awe and cool as vinyl or the same appeal as a cassette. Vinyl is that consistent format that has endured and, in 2018, is as popular as ever. They will never overtake streaming services but we still have that desire to buy and hold records. There are many reasons why modern artists love albums and will not let them die. You get to tell a story and have a chance to flourish and expand – whereas singles and digital outlets are very brief and about being a bit unengaged – and there is the opportunity to properly engage with people. I feel the physical aspect of vinyl and cassettes are why we have that love of albums as a complete work. Think about the trouble artists go to when putting their music on vinyl: you have the sleeve notes and the album art itself!

 IMAGE CREDIT: Getty Images

Look back through time and we will all have our views regarding the best album covers ever. There are polls that narrow down the best album covers but even today artists are spending time getting the images right. Artists need images for thumbnails and streaming sites but I am hearing so many musicians talk about releasing their music on vinyl and why that is vital to them. It is not about nostalgia and doing something quirky. They have the same passion as artists did decades ago and love to see something full and illustrative on the shelves. You cannot beat the pleasure of skimming through records, looking at cassettes or having a C.D. with you. So many of us spend our time skipping through tracks and not really engaged with music on a physical level. We all can appreciate music on a sonic front but many are ignoring physical formats and why they are so important. Cost is an issue but I think the time needed to go and buy something and take it home puts some off! That seems extraordinarily lazy but I can understand how we have got comfortable and resigned. It is not only vinyl and the actual records themselves that should be preserved and celebrated. Many artists have their own merchandise and stalls at gigs.

 PHOTO CREDIT: Getty Images

They can make their own T-shirts, keyrings and other products and it means they get to engage with their fans. From the other side of the table; it is great having that unique product in your palms and getting to show your love of a particular artist. I know merchandise and posters are all part of the necessary promotional cycle but artists could rely on the Internet and market themselves digitally. The reason why a lot of them do not is because they want to directly reach fans and love the actual process of putting something together. I feel National Album Day doubters should change their views and understand why the album, and its physical gooey glory, is something that will never die. This article from The Guardian irked me when it came out. There were some good points in the article but its opening words, rather weird at that, caught my eye:

“Humour me. Imagine you were a greengrocer, and that your most popular item was strawberries. Your preferred way to package them is by the punnet. Your stall has a beautiful display of punnets of strawberries, each one fully labelled with provenance, type of fruit, date of picking, sell-by dates, and so on. A couple of times a year you do a special promotion – call it Fruit Store Day – on which you sell people special punnets of rare strawberries. You sing the virtues of punnets of strawberries all day, every day. But when the punters come to your stall, what they do is hand over a few pence and walk away with an individual strawberry from a big basket at the side of the counter. They like the punnets well enough. They just don’t want a whole one, regardless of the efforts you put into selling them.

That is, roughly, the situation the music industry finds itself in with the album. Almost everyone in the conventional music business – let’s call it Mainstream Music, or MSM, for convenience – fetishises the album”.

 PHOTO CREDIT: ukehaley/Unsplash

First of all; I do not think the album is dying in any way! Maybe sales are tapering a bit but there is always going to be that desire for a complete album – whether people are buying them in a shop or streaming them online. I think it is the effort artists put into their music and physical promotions that mean we want to conserve albums and are still curious. Unsigned and mainstream artists alike are releasing their music on hardware formats and expending huge energy regarding merchandise, artwork and something the consumer can actually hold. I am seeing so many acts release cassettes, vinyl and use their imagination concerning the physical. For them, it seems more of an achievement having something in their hands and the fans, in turn, get that same buzz. I agree with the assumption that music sounds clearer and more pleasurable when played on physical forms – there is something a little vapid and empty. It may seem tangential but cinematic releases are a way of keeping the visual side of music alive. A Star Is Born is out and features Lady Gaga and Bradley Cooper. Whilst it is not directly related to physical formats; it is another way of viewing music in a more physical, visual and social way. That interaction with other music fans and cinema lovers (in this case) is vital. National Album Day is not about sitting behind screens and sharing your stories; it is about getting to record shops and actually engaging with albums in their physical form.

IN THIS IMAGE: Lady Gaga and Bradley Cooper in A Star Is Born/IMAGE CREDIT: Getty Images/Unknown

I have talked about the best albums ever – and will explore albums from different angles – but the tactile aspect of albums is something that cannot be downplayed. Musicians and fans alike treasure music that is fulsome and tells a tale; a complete work that engages us and provides something extraordinary. It can provoke you when you hear it online but I feel music hits deeper and has more resonance when we have that physical product and marry artwork/visuals alongside the music playing. It is a more sense-inspiring experience and artists realise this. Spotify and other sites might be convenient and inexpensive but how much pleasure and memorability do you get when you listen to music that way? I get a real rush and hum when I have a cassettes or record and, strangely, I remember the music longer because of that. Maybe it is the artwork and inserts you get or the fact you have a more physical and tangible connection with the music itself.  In any case; when National Album Day arrives (on 13th October), do not only think about your favourite albums but get them out and play them – or go out and buy that album. Many claim albums are dying and digital platforms are the only way to experience music but, from what I am reading and seeing, albums are still vitally important and the physical side of them is…

 PHOTO CREDIT: @annietheby/Unsplash

ESSENTIAL for so many artists!

FEATURE: Band from the Mainstream: Is Music Reserved for the Solo Artist?

FEATURE:

 

 

Band from the Mainstream

PHOTO CREDIT: @jmvillejo/Unsplash

 Is Music Reserved for the Solo Artist?

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THIS is something I have looked at…

 IN THIS PHOTO: IDLES/PHOTO CREDIT: Pooneh Ghana for DIY

from slightly different angles and in different guises. I am impressed by all the great new bands coming through right now but I look at the mainstream and most of the best albums around are being created by solo artists! Aside from some bold offerings from Parquet Courts, Arctic Monkeys; IDLES, Young Fathers and Shame…it seems most of the best music being made is from solo artists. Of course, you can toss other bands into the mix: Wolf Alice have just won the Mercury Prize and Hookworms are one of the best bands in the country. Throw in Superorganism and a few others and, well, there are enough there! The thing is, even if you take all those bands into mind…that still leaves the question: Why is there such an imbalance between solo artists and bands?! If you drew up a list of the top-twenty albums of 2018 so far I can bet you anything the majority of the records on that list would be from solo artists. I know much solo musicians have bands behind them but what has become of the four/five-piece that, even fairly recently, used to rule music?! I remember growing up in the 1990s and seeing nothing but groups on the radio. From Oasis and Pulp to Destiny’s Child and The Bluetones – the list could go on and on! There is a real disparity between the underground and the mainstream.

I get requests for interviews at the rate of knots and, whilst there is a gap in terms of the number of requests from solo acts and bands, the gulf is a lot narrower than it is in the mainstream! It seems like, on the boundaries, there are loads of bands ready to attack and campaign but there seems to be some sort of barrier. The last time I addressed this topic it was shocking to see how few great bands were ruling high in the market. I think the market has become more pronounced and, aside from your IDLES and Wolf Alice; can you really name a whole list of great bands who are making an impact?! It is not their fault at all but I wonder whether there is a barrier that is stopping newcomers getting their props – maybe there is that desire for the flexibility and focus of a solo artist?! Pop and Indie-Rock are, I feel, the most popular genres when it comes to the mainstream and the latter especially is moving from a once-band-dominated sea to one populated by solo artists. This is not a new development: two years ago, Consequence of Sound dedicated an article that aimed to answer the question…

“So, what happened? Glance through the arguments listed above, and you’ll find reasons that include everything from sales to style to sheer boredom. But there’s one underlying reason not too many people seem to be talking about: The downfall of the band as the centralized unit in rock music.

IN THIS PHOTO: Mitski/PHOTO CREDIT: Ebru Yildiz  

“Just look at the most prominent and critically acclaimed artists releasing music in the genre today. What do Mitski, Angel Olsen, Bon Iver, and Car Seat Headrest all have in common? Aside from the fact that they’ve all released very strong indie rock albums in 2016, they’re all predominantly viewed as solo artists. This would seem to indicate a new trend. A growing number of artists in their 20s and 30s have opted to either strike out on their own or front “bands” in which the other members are less collaborators and more backing musicians. This is a far cry from what was going on during indie rock’s glory days of the mid-aughts, when full-fledged bands like Arcade Fire, Animal Collective, and The National were releasing albums hailed as modern classics”.

You might be confused by my concern: Who cares about the music so long as it is good and interesting, right?! From a consumer’s-eye-view; there is no real worry in the market right now but I, as a journalist, am acutely aware of all the great bands plugging away that are not getting their dues – struggling to break into the market that is heavily dominated by solo acts. This Guardian article, reacting to the BBC naming their ‘Sound of…’ list in 2014, looked at why so many award shows and newcomer lists are dominated by the solo artist:

“…Interestingly, 12 of the 15 shortlisted are solo artists, while the other three are duos. There are as many Brit School graduates as there are actual bands: one apiece. And even then that one band – Royal Blood – are a two-piece. Of course, duos can be bands, but the BBC news themselves have been swift to report that "bands are out of fashion".

 IN THIS IMAGE: The longlist for the BBC ‘Sound of…2018’/IMAGE CREDIT: BBC

Maybe the awakening and prevalence of eager and deep-hitting bands such as IDLES are making a mark and maybe that is the answer – bands need to evolve with the times and not repeat what has come before. There are exceptions to the rules but a lot of the most-popular bands of the moment are mixing gritty and exciting compositions with lyrics that are much more intriguing and intelligent than you’d imagine. Maybe the best bands have always been smart and captivating but I find, in order to shine today, bands need to up their game and deliver something with real potency, substance and memorability. Alongside that comes the sound. Once was the time when Indie-Rock and Pop bands ruled the land. I have mentioned my upbringing and who I heard played but maybe a sense of boredom and predictability has come through. Punk, Rock and Alternative are still burning but there are opportunities out there. I believe there is a documentary/album reissue coming regarding the Traveling Wilburys. The details are a bit sketchy at the moment but the supergroup – Bob Dylan, George Harrison, Tom Petty, Jeff Lynne and Rob Orbison – define what a ‘supergroup’ is all about. I love their music and how accessible it is; how there were no egos in the ranks and, were it not for the untimely death of Orbison before they recorded a second album, how long they could have lasted.

 IN THIS PHOTO: Traveling Wilburys/PHOTO CREDIT: Getty Images/Press

There are some great solo musicians out there, old and new, and I wonder whether the idea of a supergroup has died? I would love to see some big names get together and see what they can come up with. The last true supergroup I saw out there was Them Crooked Vultures – Dave Grohl, Josh Homme and John Paul Jones – but they have not released any material since their debut album, Them Crooked Vultures, back in 2009! One might argue there isn’t the talent alive today to constitute a genuinely great supergroup but I disagree. I want to end the piece by looking at considerations such as sound malleability, political and social factors in addition to current trends – which can explain why bands are struggling to find the same appreciation as solo artists. Whilst Wolf Alice’s Mercury win is good to see, it is an aberration that is not been mirrored at music award ceremonies, ‘best of the year’ lists and polls like that of the BBC. Whilst politically and socially-aware bands like IDLES and Shame are striking; raw, inventive and engaging groups elsewhere are claiming glory; it seems like one other once-popular core is missing from the band market: the girl group. Maybe that term seems somewhat reductive, sexist or archaic given the times in which we live. However you would label these groups – taking gender out of it would prove unwise – my point is that these bands/groups/coalitions/etc.

Perhaps, again, it is a sign of the times. To me, girl groups represented the very finest, most exciting and sassy music around. I followed groups like Bananarama and The Bangles in the 1980s and, during the 1990s peak, we had Destiny’s Child (who reigned into the 2000s), En Vogue; the Spice Girls and TLC among those owning the charts and delivering incredibly powerful music. At a time when feminism and sexism are on everyone’s minds; it appears now is a great year to welcome in a new breed of girl groups. Are those words restricting movement in the market – not sure whether they will be reduced to gender or diminished in some way?! I think there are a few girl groups around like Little Mix and Four of Diamonds but, again, genre comes through. Most of those groups I just mentioned played in the R&B/Pop realm. Perhaps the Pop group seems like a naff and unappealing proposition given the fact most of the best bands around are performing in other genres. I used to love listening to a new album by Destiny’s Child or En Vogue and was captivated by the harmonies, incredible strength of the songs and how catchy they were. There was that argument regarding the Spice Girls and All Saints – who was best and the finest of the Brits – and we can all name some true anthems by those iconic girl groups. Look back even further and you have Gladys Knight & the Pips and Diana Ross and the Supremes who can be seen as the godmothers of the genre. So, then…where have all the girl groups gone?! I have found a few articles that ask the same question and have their theories. This one, from 2014, takes up the baton:

“In this new age where technology dominates and artists become stars courtesy of Vine, Instagram and YouTube, it’s hard to miss that there are no reigning girl groups around. The industry has become saturated with solo artists all producing the same sound and looking the exact same, and the industry is also littered with failed reunion attempt after failed reunion attempt from folks who still can’t seem to get along. What’s changed?

In this new scope of music, it seems like the outlook is pretty grim. Can there be another TLC? Can there be another girl group with an impact thanks to songs that detail a little bit of everything, including the struggle of battling depression, calls for unity and even safe sex? With plenty of social injustices in the world, there is certainly a void for women to fill”.

 PHOTO CREDIT: @dchuck/Unsplash

Forbes looked at the issue a couple of years ago and explored geographical aspects:

“The last time there were girl groups on the charts with any consistency was around ten years ago, when the Pussycat Dolls and Danity Kane both made it big and were able to secure several top ten hits and albums. Sadly, the members of these collectives haven’t been able to make it on their own, with lead Pussycat Doll Nicole Scherzinger being the best-known of the bunch, even though most of her solo musical output has flopped here in the States…

While the U.S. has experienced a dearth of vocal groups fronted by women as of late, other parts of the world have been doing just fine, so perhaps this is just an American problem. The U.K., in particular, has always had an affinity girl groups, and while there aren’t as many that are active at the moment as in the past, there are, at all times, enough to keep fans of the style interested”.

There are some powerful and inspiring female artists out there but, by and large, they are solo acts. There are enough male bands out there so it is a bit confusing. Do we consider any band that consists of women as ‘girl groups’? There are bands with women in them but you cannot call them girl groups – that term projects a certain mood, genre and sensation. There are parts of the world where girl bands are surviving and growing – Asia, especially – but the U.S. and U.K. charts have a severe surfeit.

FADER, in a more up-to-date article, have brought the million-dollar questions back:

“Over the past 20 years, girl power has subsided in favor of a more individualistic pop feminism. The posse has lost its power, and the female executive has risen in its place. Sheryl Sandberg's Lean In philosophy informs mainstream imaginings of the woman in a man's world; Wonder Woman only becomes a superhero once she leaves her Sapphic utopia to fight alongside men; and immensely powerful female singers command historic numbers on the Billboard charts, if sporadically.

Whether there is room for the girl group in the contemporary neoliberal imagination remains to be seen. Non-male bands command attention in more niche genres such as indie rock, where groups like Camp Cope and Cayetana challenge the patriarchal vision of the rock stage as a male domain. The sound of female camaraderie remains a powerful one for certain audiences, yet it remains a challenge for groups of women to attain mainstream sway. If girl groups are to see a resurgence, they’ll have to prove to the market what we already know to be true: female friendship is worth looking at”.

I, for one, would like to see more girl groups around and feel there is a definite appetite and gap. Whether political and social boundaries mean that type of group is sexist and outdated has yet to be established. I feel, given the political state of the world and how much sexism still exists, we could foster some great girl groups who could deliver some big messages. I love the fact we have empowered and exceptional solo female artists but I do long for those heady days when we sang along to the great girl groups and had that diversity.

 IN THIS PHOTO: Oasis/PHOTO CREDIT: Getty Images

Whereas social class is not such a huge issue when it comes to solo artists and girl groups; traditional bands, before, were usually working-class. That may be overly-simplistic but the big boys/girls of the 1990s and early-2000s were definitely coming from a more humble and working-class background. Noel Gallagher, back in 2015, looked around music and noticed how few working-class bands there were. NME reported it at the time:

“He’s now calling on labels to provide more support to new bands.

Speaking during an appearance on BBC Four’s ‘What Ever Happened To Rock ‘N’ Roll?’, which airs this evening (July 23), he says: ”In theory the internet and YouTube should be helping new bands get off the ground but it hasn’t – it’s got worse. The record labels just aren’t interested in working-class bands any more.

”[Rock’n’roll is not dead] as long as I’m still going, it’s fucking not. It’s there but it’s certainly lacking the re-generation process.

”Since the Arctic Monkeys, Kasabian, Razorlight and The Libertines there has been nothing. You name me one band since them. So that’s 10 years ago. So the evidence is that it is kind of in hibernation”.

Again…in the same way the 1990s produced these world-class girl groups; there were these big working-class bands who were delivering anthems that united the world and have, as such, survived the decades. I have mentioned a few bands already but look at most of the groups out there and how many can you claim is working-class?! A lot of the bands I get requests from are working-class but I find they are struggling to get the same focus as middle-class bands and solo artists. Is the music industry interested in the working-class and have they turned their backs on bands altogether?! There is a clear problem and one can argue a lack of quality means solo artists are taking a lead – I do not feel bands lack ambition but times have changed and we need to start opening the market up.

 IN THIS PHOTO: Kacey Musgraves (who has produced one of this year’s best albums, Golden Hour)/PHOTO CREDIT: Billboard

I admit that there is a wealth of great solo talent and some truly remarkable albums have been produced this year. I am not suggesting we limit their role and voice but it seems the music industry is much more accommodating towards solo artists. Maybe the closing of so many venues means bands have nowhere to cut their teeth – there are a lot of smaller venues around that can cater a solo act or duo – but it is an interesting argument. I feel, so long as music is good and evolving, then we should not be alarmed but I would hate to think that, decades from now, all the best bands that come to mind are those from way back. How many new bands from the last decade can you rank alongside those we grew up with and idolised?! Maybe I am just growing old and need to shift with the times but I feel the industry needs to hold its hands up (in blame) and we should ask why few great bands are being heralded in the mainstream. Maybe politics, class and genre plays a part but quality might be lacking; perhaps we are a bit bored of bands and solo artists have great opportunity to fuse genres, resonate on a personal level and have more artistic freedom. Whatever the reason behind this years-long trend – that seems more emphatic and worrying now – discussion and productive investigation needs to happen to reverse the endangerment. The few wonderful bands that are showing their might do not have great backing and, when it comes to music awards and the artists being tipped, there is that favouring of solo acts. I do not want to live through times when bands are seen as obsolete and inferior – that is not true and I know plenty of unsigned groups who have the promise and potential to last for years. I feel everything should be done so these great groups - whether they are Pop, Rock or Folk-based – get more focus and are not seen as a product…

OF the past.

INTERVIEW: Bri Clark

INTERVIEW:

PHOTO CREDIT: Tanya Voltchanskaya

Bri Clark

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I have been talking with Bri Clark…

IMAGE/PHOTO CREDIT: Tanya Voltchanskaya

about her current single, Giving Up, and what the story behind it is. The Australian artist discusses her musical tastes and reveals what it was like working alongside producer Jono Steer on her new track; whether there is more material coming and which approaching artists we need to spend some time with.

I ask Clark if there are any live dates booked in and how she unwinds away from music; if there is a special memory that sticks in her mind; a few albums that have impacted her hard – she ends the interview by selecting a rather good song.

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

Hey - I am good! My week has been really great, thank you!

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

I am a singer/songwriter currently based in Perth, Australia. The music I’m releasing at the moment is cinematic Alt-Pop.

Giving Up is your new single. Can you talk about the story and how it came together?

Giving Up is a song that took a little while to write...

I was witnessing a relationship break down between two people very close to me and I had to deal with what I was feeling as well as trying to be there for them; so the song took on a life of its own. It ended up being a story of the struggle to leave or to stay.

I had the chorus line - “Stop me from giving up on my love” - in another song I had written, but I felt like it deserved to be more than just a verse throwaway. So ,then, I was jamming it with my besties and I came up with a whole song melody based on the line as the chorus!

I took that to Jono Steer and we produced it into what it is now. 

How important was it working alongside producer Jono Steer?

Jono is just an incredible producer, engineer and human. It was extra-special because my E.P. was the first project he’d worked on since moving to Castlemaine - a town in rural Victoria - so it was all new spaces and we were getting to know it together, the different cafes and walking spots. He helped transform my songs into beautiful pieces of art. I learnt so much from him and I’m now getting into production because he was so easy to learn from and very knowledgeable.  Also; I’d like to live in Castlemaine now.

PHOTO CREDIT: Trevor Gerard

Do you think there will be more material coming along?

Yes! We have a five-track E.P. ready to go - and Giving Up was the first single from it! There’ll be another single release early in the New Year probably and then the E.P. and THEN the next thing. I’ve been doing a lot of co-writes recently and have probably written some of the best songs in those sessions, so I am very excited to get into the studio and record them, but also keep writing.

Were you raised around a lot of great sounds? What sort of music were you raised on?

My mum had the Tina Arena In Deep deluxe album and I listened to that on-repeat and tried to emulate everything thing she did with her voice and that’s how I taught myself to sing. But, there was lots of music in the house growing up: The Carpenters, Fleetwood Mac; Bryan Adams, Shania Twain; Michael Jackson, Queen. Then, when I was old enough to choose my own music, it was Britney Spears, Norah Jones; Christina Aguilera, JoJo; Taylor Swift, Adele; Sia, Bat for Lashes; City & Colour, Damien Rice; Butterfly Boucher, Bertie Blackman; William Fitzsimmons, Gotye…I cut my teeth on Pop and Alternative music and it was great.

PHOTO CREDIT: Hannah Lawrance

What do you hope to achieve by the end of 2018?                         

I hope to play some bigger support shows and write with more artists and writers I admire.

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

I have a couple from this year actually…

I got to spend a couple of days writing with Aussie songwriter and all around legend, Mark Lizotte (Diesel) - one of the most generous people I’ve ever met. Also; when Giving Up was shortlisted for the 2018 Vanda and Young Songwriting Competition alongside Amy Shark and Gang of Youths, that was pretty special - and, just jumping into songwriting sessions with people I haven’t met before and being able to connect over something and create.

Also; BIGSOUND this year was a big highlight for me; I got to meet many wonderful people and form some great relationships. And, probably, number-one making the E.P. with Jono, Lawrence and Leigh. After a few days in pre-production with Jono, I went back to the cottage I was staying in and I had a listen to the songs and just cried so much because I was so happy. I called my mum and she was very confused for the first minute of the conversation! I am very lucky.

  PHOTO CREDIT: Tanya Voltchanskaya

Which three albums mean the most to you would you say (and why)?

It’s very hard to choose only three.

The Blessed Unrest by Sara Bareilles

I say this but I really mean Sara Bareilles’ entire discography, including her incredible covers, and her Waitress musical. She always has at least one gut-wrenching song in every album: Manhattan, Between the Lines; Gravity, Bluebird; Bright Lights and Cityscapes, Breathe Again and 1000 Times. She is one of the great songwriters, in my opinion. A true craftswoman. Listening to Sara has pushed me to never settle when I write; always search for the right word, the right phrase and the right melody. I’ve also really enjoyed her artist development, moving from minimal production when she first started to more eclectic, experimental Pop. What a woman!

Eclipse by Imogen Heap

Incredible songwriting and production. Listening to Imogen Heap gave me a license to be really experimental with my lyrics. I love Imogen Heap in all her forms, especially as part of Frou Frou. She changed the game for me with her vocal arrangement and production. I really love her Sparks album as well which was a bit more challenging to listen to. She gave me a love for the unusual and unexpected in music.

Grace by Jeff Buckley

This was an out-of-body, surreal experience. I came to this album quite late - I think I was twenty-two - when I heard it and I was driving around the North Island of N.Z. with a really great friend of mine and I was going through some heartache and life uncertainty. I feel like music comes to you when you need it - and I needed this album when I heard it. I hope that my music can have as profound an effect as what Jeff Buckley had on me.

If I were allowed to give three more albums that I love and had a huge impact on me:

Ben Abraham - Sirens

Jónsi - Go Do

Adele - 21

PHOTO CREDIT: Tanya Voltchanskaya

If you could support any musician alive today, and choose your own rider, what would that entail?

Sara Bareilles. Oh. I would just like limitless peppermint tea and some fresh fruit.

What advice would you give to new artists coming through?

Make music that makes you happy first and foremost - and always go for a grant where possible to save your cash. Go to lots of gigs and talk to artists that you admire. Do the self-management thing, if you have the time, so you can really know what skills you need your manager to have when you take one on. Play lots of gigs but, if you don’t like playing gigs, don’t. Just do whatever makes you happy and try not to put too much pressure on yourself.

Do you have tour dates coming up? Where can we catch you play?

I have a few dates coming up:

Fri, October 12th - SOFAR Sounds Perth

Sat, October 13th - RTRFM Spring Music Festival at The Aardvark

Sat, 3rd November (3.20 P.M.) - WAMFest Showcase at the PICA Amphitheatre

Got a couple of shows on the horizon in Melbourne and Sydney as well, but nothing international yet.

How important is it being on stage and performing? Do you love playing your music to the crowds?

I think it’s important to play live if you want to create a really strong connection with your fans. I love playing to crowds who listen intently. There’s nothing more difficult than a crowd who is only there for their friends/family and aren’t really into music so don’t care to listen to other artists. But, also, in saying that; I know some really successful musicians who choose not to play and that’s totally fine too. There’s no ‘one way’ to do it in this industry.

 IN THIS PHOTO: Asha Jefferies/PHOTO CREDIT: Savannah van der Niet

Are there any new artists you recommend we check out?

Asha Jefferies is a girl from Brisbane who writes beautiful Folk songs. Ariela Jacobs - just heard her unreleased E.P. and, holy moly, we’re in for a treat.

 IN THIS PHOTO: Ariela Jacobs/PHOTO CREDIT: Liam Mcguire

Do you get much time to chill away from music? How do you unwind?

I love long walks around the river where I live. I work at an office part-time and that helps me to unwind because I’m doing repetitive tasks that I can do without thinking; it also helps when I’m stuck on a lyric because I can be doing something monotonous and then my brain will just pull it out of thin air. I love movies, good food and cooking when I can be bothered. It’s really hard to switch that side of me off, though: I’m always thinking about it.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Let’s stick with the Sara Bareilles theme: Manhattan, please

___________

Follow Bri Clark

Official:

https://www.briclarkmusic.com/

Twitter:

https://twitter.com/BriClarkMusic

Facebook:

https://www.facebook.com/BriClarkMusic/

SoundCloud:

https://soundcloud.com/briclarkmusic

Instagram:

https://www.instagram.com/briclarkmusic

INTERVIEW: THUMPER

INTERVIEW:

THUMPER

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THE guys of THUMPER…

have been chatting about their new single, (You’re Bringing Me) Down, and how it came together. I ask whether there is more material planned and what sort of sounds/artists the band is influenced by – they tell me whether any gigs are approaching and how THUMPER got together.

I discover what the band want to achieve before the end of the year and how the band have evolved since the start; whether there is a particular album that means the most to them; what they would tell artists coming through at the moment – they select some emerging musicians that are worth some focus.

__________

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

We’re good! It’s been a busy week. We released the video for (You’re Bringing Me) Down and played the Friday night of Hard Working Class Heroes. The video and song has been a labour of love for us so we’re delighted to have it out in the world. The gig was mayhem.

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

We try to fuse the noise and drone elements of bands like Sonic Youth or Thee Oh Sees, with the Pop and almost saccharine elements of bands like ABBA or The Beatles. We want you to be tapping your foot while gritting your teeth.

(You’re Bringing Me) Down is your new single. Can you explain the story behind the song?

Myself and two of our past members went to see a three-act bill in Dublin a few years ago - Patti Smith, Ariel Pink and Spiritualized. While we were big fans of the first two, we had never really listened to Spiritualized beyond that album, Ladies and Gentlemen We Are Floating In Space.

I was amazed at theses ten/fifteen minute-long songs that were super-minimal and repetitive but somehow really powerful in spite of, or maybe because of, the repetition. Down is a song that we had been writing at the time and the sentiment of the tune suited that manic and repetitive feel, so we robbed it.

Is there going to be more material coming down the line from you guys? What are you working on?

Down is the second single that we’ve released from an E.P. called Out of Body Auto-Message which we’re releasing in November. Up until now, all of our E.P.s have been super-lo-fi, gnarly affairs but this is our first studio offering and is much closer to our live sound. Dan Fox of Girl Band produced the whole thing and made the transition from lo-fi to big-boy studio a painless and enjoyable process!

How did THUMPER find one another? Is there a tale behind that name?

Essentially, THUMPER started off as my solo project. I was suffering from really bad writer’s block and wrote, recorded and released the first few E.P.s really fast so as to not have time to critique them too much (hence why they sound so unpolished and thrown together - they were!).

What started as a side-project quickly became its own beast as myself and a few friends started playing the songs live, eventually getting booked for festivals and packing out some shows in Dublin. We all knew each other from music college and had toured/played together in different bands over the years - so there wasn’t much of a teething period in terms of learning to play together.

In terms of music; what did you all grow up around and idolise when young?

A lot of ABBA, Beatles and Beach Boys when we were younger. Like most kids; we always graduated towards the strongest melodies and think, if anything, that’s one thing that’s stayed with us when it comes to our songwriting, still.

How do you think you have developed and evolved since the start of your career?

The most major change is that the band has changed from being a vehicle for my songs and more into a collaborative group effort. We’re in a really healthy creative space now. We’ve also done a million gigs so are probably better at actually playing.

What do you hope to achieve by the end of 2018?

With the E.P. coming out in November, all we can hope to achieve is to do those songs justice live and maybe write a few more tunes to keep them company. Most of our goals revolve around writing the best music possible. Anything beyond that is a bonus!

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

The first festival we ever played was Knockanstockan in Co. Wicklow. We had only released one single - and were on relatively early - but we flukely played to a packed-full circus tent. A lot of what we had been doing up to this point was very insular - practicing in our rehearsal room or recording the music alone. The crowd at this show was wild and it was the first evidence that the music translated into a bigger setting. That show lit something in us that has lasted ever since and is definitely a high point for us.

Which one album means the most to each of you would you say (and why)?

One album that had a big effect on us as a band is Holding Hands with Jamie by Girl Band. We all listen to different types of music and have our own tastes and opinions, but something about this record resonated with all of us equally. We all queued up and bought it in a small record shop in Dublin and played that thing to death. Live, the songs were even more powerful. When beautiful Daniel Fox reached out to get involved with our own record it was a dream come true.

If you could support any musician alive today, and choose your own rider, what would that entail?

Can we go on tour with Parquet Courts or Shame, please? We would like a bottle of whisky, a bottle of Baileys and six cups. Thanks in advance!

Can we see you on the road this year at all?

We just finished a very busy summer of touring but we’re not done yet! We will be playing The Button Factory on Hallowe’en night and are launching our E.P. in The Workmans Club on 30th Nov. There are a handful of other exciting shows in the pipeline that we can’t divulge just yet but there will be plenty of us to go around, fear not.

What advice would you give to new artists coming through?

Focus on writing good songs and work backwards from there.

 IN THIS PHOTO: KOJAQUE

Are there any new artists you recommend we check out?

We’re currently listening to a lot of KOJAQUE, Just Mustard and Joey Gavin - all Irish masters of their fields.

IN THIS IMAGE: Just Mustard

Do you get much time to chill away from music? How do you unwind?

At the moment, we eat, sleep and breathe music every day. They say when you love what you do you’ll never work a day in your life - it also means you never get a day off!

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

We unanimously vote Life by Des’ree x

___________

Follow THUMPER

Facebook:

https://www.facebook.com/hellothumper

Spotify:

https://open.spotify.com/artist/1iMsLpQB3kldZ9s7pne7gP

SoundCloud:

https://soundcloud.com/thumperband

Bandcamp:

https://thumpermusic.bandcamp.com/

FEATURE: It’s About the Whole Package, Not Just Looks: National Album Day: The Best Albums of 2018 (So Far)

FEATURE:

 

 

It’s About the Whole Package, Not Just Looks

PHOTO CREDIT: @duck58cth/Unsplash 

National Album Day: The Best Albums of 2018 (So Far)

__________

I have just written a piece about the best debut albums ever…

 PHOTO CREDIT: @trommelkopf/Unsplash

that is inspired by National Album Day. There are another few days to go until that celebration comes but it is a good opportunity to look at albums and actually celebrate them in full – rather than concentrate on singles and the material side of music. I am excited, on 13th October, to celebrate National Album Day and, given the tremendous L.P.s that have arrived this year; I had to compile the best of the year so far and urge people to give them a good listen! There are still a couple of months to go until the year is through but there have been some tremendous albums released already. I present the very finest of 2018 so far that provide the album is very much…

 PHOTO CREDIT: @danidums/Unsplash

ALIVE and kicking.

ALL ALBUM COVERS: Getty Images

____________

Janelle Monáe – Dirty Computer

Release Date: 27th April, 2018

Labels: Wondaland; Bad Boy; Atlantic

Review:

“She’s got The Purple One’s punk, mad-scientist approach but creates a world all of her own. Throwing in rap, soul, pop, R&B, space-rock and whatever the hell she wants with her fearless message, Janelle Monáe doesn’t believe in walls or limits: this is a fluid celebration of freedom, raging and raving against the oppressors. In fact, only one label sticks – icon”
 NME

Standout Cut: Django Jane

Arctic Monkeys – Tranquility Base Hotel & Casino

Release Date: 11th May, 2018

Label: Domino

Review:

“Perhaps the great mystery of Tranquility Base Hotel & Casino is not its knotty themes or cryptic lyrics but what’s motivating Turner. With the keys to the most lucrative and well-oiled indie-rock band around, he’s regenerated Arctic Monkeys in service of a delirious and artful satire directed at the foundations of modern society. This is not an act of protest: Implicated in its sprawl are gentrification, consumerism, and media consumption, but rather than address these meaty topics, he strafes around them, admiring their transformation in the laboratory of his word tricks. In the end, his helpless struggle for meaning is what makes him relatable. For all this record’s hubris, the long-touted “generational voice” that is Alex Turner has never sounded more real, or more himself” - Pitchfork  

Standout Cut: Four Out of Five

Kacey Musgraves – Golden Hour

Release Date: 30th March, 2018

Label: MCA Nashville

Review:

“Everything clicks perfectly, but the writing has an effortless air; it never sounds as if it’s trying too hard to make a commercial impact, it never cloys, and the influences never swallow the character of the artist who made it. In recent years, there have been plenty of artists who’ve clumsily tried to graft the sound of Fleetwood Mac’s Rumours on to their own. On Lonely Weekend, possibly the best track here, Musgraves succeeds in capturing some of that album’s dreamy atmosphere without giving the impression that she’s striving to sound like Fleetwood Mac. It’s an album that imagines a world in which its author is the mainstream, rather than an influential outlier. It says something about its quality that, by the time it’s finished, that doesn’t seem a fanciful notion at all” - The Guardian  

Standout Cut: Space Cowboy

IDLES – Joy as an Act of Resistance

Release Date: 31st August  

Label: Partisan Records

Review:

“Across its 40-odd minutes, ‘Joy As An Act of Resistance’ makes you want to laugh and cry and roar into the wind and cradle your nearest and dearest. It is a beautiful slice of humanity delivered by a group of men whose vulnerability and heart has become a guiding light in the fog for an increasing community of fans who don’t just want, but need this. No hyperbole needed; IDLES are the most important band we have right now” – DIY  

Standout Cut: Television

Sophie – Oil of Every Pearl’s Un-Insides

Release Date: 15th June, 2018

Labels: MSMSMSM; Future Classic; Transgressive

Review:

“Often I tune out the first and get annoyed with the second. But the rest of the album is all laughs and thrills in which sweet clarity defies a panoply of beaty techno sound effects at different junctures every time you listen. For me the most reliable comes as a reward right after "Pretending": "Immaterial," where she has the generosity to grant one of technodancepop's most generic and cheerful riffs the Sophie version of eternal life” - Noisey    

Standout Cut: Immaterial

Jon Hopkins – Singularity

Release Date: 4th May, 2018

Label: Domino

Review:

“Much like Immunity before it, Jon Hopkins plays with light and dark to exhilirating effect and with Singularity it feels like he’s levelled up the melding of two worlds: ambient and techno. Hopkins’ signature deep tissue massage bass is stitched together throughout, with unreal moments of musical beauty making Singularity a simply stunning album of emotional highs and lows” - The Skinny    

Standout Cut: Emerald Rush

Cardi B – Invasion of Privacy

Release Date: 5th April, 2018   

Label: Atlantic

Review:

“And yet there is a political, even feminist element to all this. One look at the tastemaking Spotify playlist Rap Caviar will show you how overwhelmingly male the scene still is, and in their tracks, women are often reduced to mere “beasts” and “bad girls”, seduced into infidelity less for sexual pleasure than as a way to cuckold their partners in a war of masculinity. The common use of “thot” – an acronym for “that ho over there” – shows how depersonalised women often are. Like Lil Kim, Foxy Brown and Nicki Minaj before her, Cardi’s genius is to take the sexually available “thot” image and rehumanise it, reminding boorish men of women’s agency, wit and emotional reality” – The Guardian       

Standout Cut: Bodack Yellow

Leon Bridges – Good Thing

Release Date: 4th May, 2018

Label: Columbia

Review:

“While the record embodies Bridges’ Sam Cooke-influenced vocals, he doesn’t just find himself attached to Sixties soul: he finds himself transcending time with the sparkling, disco “If It Feels Good (Then It Must Be)” and the Eighties synth-influenced “Forgive You”. “Sometimes I wonder what we’re holding on for/Then you climb on top of me and I remember”, Bridges sings on the sexy, lovesick “Mrs”. Bridges has matured, and that is absolutely a good thing”- The Independent     

Standout Cut: Bad Bad News

Eleanor Friedberger - Rebound

Release Date: 4th May, 2018 

Label: Frenchkiss Records

Review:

“Rebound, on the other hand and despite its evident connections to a specific type of 1980s music, is an album written very much in the present: a work of emotional maturity where the dizzying memories of youth, the infatuated giddiness of new love, or the safety of domesticity have been dealt with and overcome. All the baggage left in some Aegean shore. Hence, in Rebound, Friedberger meets mementos of happier times and opportunities for immediate joy with identical ease. And that is the promise, making her latest album an intriguing open door from an artist who continues to grow in all possible ways” - TinyMixTapes

Standout Cut: In Between Stars

Nils Frahm – All Melody

Release Date: 26th January, 2018 

Label: Erased Tapes Records

Review:

“It’s a wonderfully imaginative process. ‘Human Range’ uses wind instruments like the horn to give it this kind of airy quality, while the notation is more stuttered, bringing in also that premier wind instrument – the voice. ‘All Melody’ is a masterpiece of texture. Incessant overlapping rhythms which swoop down from on high, peeling off into the subsequent track ‘#2’ which just wallops you with rhythm.

It’s continuously changing, perfectly timed, evenly spaced - an impeccable album” – Drowned in Sound

Standout Cut: My Friend the Forest

Mitski – Be the Cowboy

Release Date: 17th August, 2018    

Label: Dead Oceans

Review:

“Mitski’s songwriting trademarks are strong enough to transcend the stylistic revamp – arrangements that are rich without being precious (Pink in the Night), plus her terrifically mordant worldview. “Nobody butters me up like you,” she sings on twisted country song Lonesome Love. “And nobody fucks me like me.” It is hard to sing at a remove and maintain emotional directness – Mitski is famously private – but like St Vincent or even David Lynch, she specialises in the bait-and-switch of delight and obfuscation” – The Guardian   

Standout Cut: Why Didn’t You Stop Me?

Hookworms – Microshift

Release Date: 2nd February, 2018  

Label: Domino Recording Company

Review:

“Groove-based krautrock is visited on the epic nine minutes of "Opener". The use of electronic loops and monotonous guitar lines results in something trancelike, hypnotic and accompanied by the most impassioned vocal on the album ("I can’t last the distance / It’s hard to find a better world / Where we can countercall the shortcomings, oppress them til they're hidden from the world /or just let it all out"). Again, on paper it might read kinda twee, but its delivered with such steely conviction, the message of it totally being OK to not be OK proves to be one which is deeply profound.

It's the beginning of the 2018 and talk of albums of the year right now is obviously churlish, but on Microshift we're hearing a band hitting their sweet spot with such an effortless swagger that we're sure this is a contender” – The Line of Best Fit  

Standout Cut: Negative Spaces

Christine and the Queens – Chris

Release Date: 21st September    

Label: Because Music 

Review:

“Maintaining every ounce of the sheen of ‘Chaleur Humaine’, while pushing forward the idea of Christine & The Queens as the most subversive, game-changing pop star we have, ‘Chris’ is a second album that thrives in the realm of the uncertain, throws perceptions on gender, sexuality and expression comprehensively out of the window, and cements the status of Héloïse Letissier as a true star” - DIY   

Standout Cut: 5 dollars

Gaz Coombes – World’s Strongest Man

Release Date: 4th May, 2018  

Label: Caroline International

Review:

“So here’s an album by a male songwriter who feels deeply affected by the conversations happening around men and masculinity right now in light of #MeToo, Time’s Up and gender inequality in all its forms. Gaz Coombes isn’t congratulating himself on having these thoughts, he’s just trying to be more like the man he wants himself and other men to be. There’s room for a lot more of those” - NME  

Standout Cut: Walk the Walk

Gwenno – Le Kov

Release Date: 2nd March, 2018  

Label: Heavenly Records

Review:

“While the diverse musical settings she and Edwards cook up for each song are impressive, Gwenno's vocals are a dream throughout. It's clear that she feels strongly about the words she is singing, and she inhabits every song fully. The music, words, and voice come together on Le Kov like fragments of the past put back together and made into a satisfying new whole that works as a lovely tribute to Cornish culture, while also solidifying Gwenno's place as an important artist” - AllMusic  

Standout Cut: Herdhya

Anna Calvi – Hunter

Release Date: 31st August, 2018   

Label: Domino Recording Company

Review:

“The legacy of female-led British punk comes through, with essences of Lene Lovich in Calvi’s vocals on ‘Indies Or Paradise’, a track that kicks off with a hint of X-Ray Spex’s ‘Germfree Adolescence’. After the edgy, melodramatic intensity of the first two-thirds of Hunter, a break comes in the emotional detachment of ‘Away’. With its acoustic, gentle melody, it’s a bittersweet song of release, but the softness steadily gives in to a melancholic ache of loss. The jewel of the album, though, is ‘Don’t Beat The Girl Out of My Boy’, in all of its ethereal Cocteau Twins-esque gothic rock. Calvi howls up a storm as she defies the gendering that society imposes from an early age, imploring “let us be us”. Hunter is a tempestuous album full of haunting, unsettling vocals; it resonates with evocative power” – The Quietus  

Standout Cut: Hunter

Shame - Songs of Praise

Release Date: 12th January, 2018   

Label: Dead Oceans

Review:

“It would be wrong to paint Shame as class clowns, though; lyrically and musically this cuts deeper than most, with the band’s political beliefs worn firmly on their sleeves. There’s a sense throughout of upending the norm, a group of young people shunted to the sidelines who yearn – if only briefly – to seize control of the stage, to rip down the curtains and show things as they really are.

‘Friction’ is one of the album’s most resolute achievements, and it asks one of Shame’s most daring questions: “In a time of such injustice how can you not want to be heard?”

In context and execution, ‘Songs Of Praise’ is one of the most daring, scorching, seethingly intelligent, and at times downright funny British guitar albums to come our way in years” – CLASH    

Standout Cut: Tasteless

Courtney Barnett – Tell Me How You Really Feel

Release Date: 18th May, 2018   

Label: Milk! Records

Review:

“They’re the most Nirvana-esque moments on this modest masterpiece of an album, made by an avowed fan who shows a kindred underdog solidarity. Kicking against the pricks, including the ones in her own head, Barnett encourages us to do the same, with an impressive generosity of spirit. “Take your broken heart/Turn it into art,” she counsels at the LP’s outset. “Your vulnerability is stronger than it seems.” As Tell Me How You Really Feel amply demonstrates, so is hers” – Rolling Stone   

Standout Cut: Nameless, Faceless

INTERVIEW: For Esme

INTERVIEW:

PHOTO CREDIT: Vanessa Heins

For Esme

___________

IT is good to catch up…

 PHOTO CREDIT: Laura-Lynn Petrick

with For Esme’s lead Mar Meredith and see what is cooking right now. She talks to me about the brilliant track, Modern Love, and filming its incredible video; what comes next and when music came into her life – she recommends a rising artist we should get behind and investigate.

I discover whether there are tour dates coming up and which three albums are most important to the band’s lead; whether she gets much time to chill and, given the chance, which artist she would support on tour – she ends the interview by selecting a great song.

__________

Hi, For Esme. How are you? How has your week been?

Hello, Sam! My week has been great, though quite hectic. I’m battling the fall cold that many people seem to have in Toronto right now and it’s been wearing me down.

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

Sure. I’m Mar Meredith and I’m the frontwoman/creative director of For Esmé, which I am currently performing with four wonderful humans: Charles Tilden, Karrie Douglas; Lewis Parker and Liam Cole. For Esmé is an unabashedly feminist exploration of self-love and the courage of conviction in uncertain times. 

Modern Love is your latest single. What is the story behind the song?

The song emerged when I got engaged to my now-husband and I was uncomfortable with the reaction that I felt I was getting for that - as if I had accomplished the ultimate goal that a woman can, in securing a husband. I was frustrated by it but also interested in interrogating my frustration. When I did so, I had to face the uncomfortable truth that my younger self often HAD defined herself somewhat by her relationships to and ability to attract men. I felt a surge of gratitude for having outgrown that and seeing myself as complete, independent of anyone else. 

I believe Joan Didion’s 1961 essay, On Self Respect, played a role. When did you come across that work and how does it feed into the song?

I seem to remember first reading it in the first apartment I ever had to myself. I remember scrawling “Character - the willingness to accept responsibility for one’s own life - is the source from which self-respect springs” on a Post-it note and sticking it right on the front face of my desktop. It stayed there for years until I switched over to a laptop full-time. It felt really important to remember that.

I revisited the essay when I was writing this record and found even more to love in it than I had any of the times I’d read it before. The essay always helps me get back on track with listening to myself and I wanted to create my own piece of art that would work in the same way, perhaps more accessibly.

The video is really imaginative and memorable! Was it a great video to work on?!

Thank you! It was a real pleasure to work on. Director Nick Tiringer approached me wanting to make a video for this song and, when he pitched this concept, it was PERFECT. I had always envisioned the song as something you needed to say to yourself in the mirror and I had gone as far as thinking about that viral YouTube girl from a few years ago, Jessica’s Daily Affirmations – so, when Nick came at me with this concept if felt like he’d read my mind! Watching everyone select their different mirror routines and interpret the lyrics individually was really special for me. I love each cast member’s performance so much.

Might we see more material next year? What are you working on at the moment?

I am working on new music (I was really fortunate to get to spend a few weeks of the summer in a cabin in the woods working on new songs) but I have to be honest that I work pretty slowly! I have a lot of songs on the go but I am still sorting out what is going to come next, conceptually. In the meantime, I have some more videos for Righteous Woman in the works that I am excited to share. 

PHOTO CREDIT: Vanessa Heins

Do you recall when music came into your life? Was there a moment you knew it was the career for you?

I’ve always loved music deeply for as long as I can remember. I have a quit vivid memory of being a kid and seeing an a capella choir perform and feeling my arm erupt in goosebumps. That was so powerful - I wanted to be able to create that level of emotional communication myself. I first started writing my own music when I was working at a summer camp in high-school but I was always singing, dancing and performing from as early as I could talk and walk. 

What do you hope to achieve by the end of 2018?

I think what I am most excited about are our upcoming tour dates. Every time we perform these songs they develop deeper and different meanings - and it has been really exciting to share that with different audiences over the past four months. So, I hope to unlock a new level of energy and sync for the show. Also, per your earlier question, I’m really keen to get further on my new songs and get them closer to being ready to record.

 PHOTO CREDIT: Laura-Lynn Petrick 

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

Hmm; this is tricky because I’ve had a lot of really special experiences working in music. I think the ultimate euphoria and the one that lasts the longest though is the moment of gratification when writing a song that really feels so right and pours out so quickly. A recent example was in writing For Others. It just poured out of me and I just knew it was right. Honestly; that’s the best feeling in the world.

Another really fulfilling memory was creating our music video for Small Talk because I got to work with a team of people I admire so much - and to work in a medium that is really exciting for me (dance). The final product was something I am so proud of. These aren’t exciting examples, haha, but the highs from playing a big festival or having a great piece of press don’t last as long or mean as much as the more personal milestones. 

Which three albums mean the most to you would you say (and why)? 

Ooo; this is hard! I feel like my answer to a question like this differs based on mood and season and moment…but here goes:

Knives Don’t Have Your Back - Emily Haines & the Soft Skeleton

This is probably the record that has the longest term and biggest impact on me. It makes me feel so deeply and really takes me to an introspective place. The heartbreaking vulnerability and remarkable honesty in it is really profound. 

Cloak and Cipher - Land of Talk

This was the first L.P. I ever remember buying that I wasn’t already familiar with; when I moved into the first apartment I ever had to myself. It was the soundtrack to a newfound independence and has really stayed with me ever since. I love this band. 

Hounds of Love - Kate Bush

I frickin’ love Kate Bush so much. She’s such a creative songwriter and producer and video-maker: she’s really the full package deal. This record is such an adventure from beginning to end. I spent a lot of this summer staring at big summer skies and sunsets and The Big Sky was always in my head. Running Up That Hill (A Deal with God) is such an incredible song about empathy. 

 PHOTO CREDIT: @ShootYrShow (Farrel Rafferty) 

If you could support any musician alive today, and choose your own rider, what would that entail?

Another tough one, because so much of the music I love is so different in style than my own! I’d love to tour with Robyn. She’s such a total bad-ass and she writes the best Pop songs that are also so meaningful. Plus…she gets her audience dancing - which is my favourite!

In terms of rider; I’m really not fussy. It would be pretty wonderful to have some single malt though!

What advice would you give to new artists coming through?

Listen to your own intuition more than anyone else’s advice! And, second, working on the craft and the art is way more important than networking and social media no matter who tells you differently. 

PHOTO CREDIT: @ShootYrShow (Farrel Rafferty) 

Do you have tour dates coming up? Where can we catch you play?

We’re so excited to be hitting a bunch of cities in Ontario and Quebec this month; Guelph, Windsor; Quebec City, Ottawa; Toronto, Peterborough and Kingston. 

Will you come to the U.K. and play at some point?

Yes. We want to do this so much and are working on some relationships that can help make this happen. We’d love to come to you!

 IN THIS PHOTO: Jeremy Duthcer

Are there any new artists you recommend we check out?

A wonderful artist named Jeremy Dutcher just won the Polaris Music Prize here in Canada, which is a pretty prestigious award in Canadian music. He makes the most remarkable and beautiful music combining his Wolastoq First Nation roots with his classical training in Opera. It’s really incredible. 

Do you get much time to chill away from music? How do you unwind?

My favourite place to unwind is at my cottage. It’s an island on Georgian Bay with no electricity, only outhouses and very little cell reception. There, I’m able to get in touch with myself in a beautiful way, separate from the pushes and pulls of the city and the Internet. I read, canoe; paint and draw, journal; cook and make whole days revolve around sunsets and adventures in nature - it’s my favourite place on Earth and keeps me sane. 

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

A song I’ve been loving lately because the lyrics really strike home is Poem by Toronto band U.S. Girls 

___________

Follow For Esme

PHOTO CREDIT: Vanessa Heins

Official:

http://www.foresmemusic.com/

Instagram:

https://www.instagram.com/foresmeforever/

Twitter:

https://twitter.com/foresmeforever

Facebook:

https://www.facebook.com/foresmeforever

Spotify:

https://open.spotify.com/user/12158666992

YouTube:

https://www.youtube.com/channel/UCyWMDJEKC7w15aY1PI_Qjfw/videos

FEATURE: She Plays the Cello Like a Violin: National Album Day: The Best Debut Albums Ever

FEATURE:

 

 

She Plays the Cello Like a Violin

PHOTO CREDIT: @samueldixon/Unsplash

National Album Day: The Best Debut Albums Ever

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IT is coming up to National Album Day (13th October)…

 PHOTO CREDIT: @lagianolik/Unsplash

and I have seen various radio stations and websites cover the album from different angles. Whether it is the best album opening track or the best record of this year – there is a lot of interest in the album itself and how important it is. I might well cover both of those considerations in future pieces but, to me, when you think of the album and the most interesting topic around it…can you get any more interesting than deciding the best debut album?! Naming the best album full-stop would be exhaustive and contentious but I think it is easy to limit the choice of best debut album down to a select few. In fact, I have assembled fifteen records that, I feel, can be considered the very best opening statements ever. You might have your own interpretation and champion but there seems to be a sense of consensus regarding the assembled list. What makes the ‘best debut album’ is the fact people, when they were released, would have judged them on the strength of the whole rather than the singles – how often do we do that on a regular basis?! These albums are special, not only because they are complete and thrill you from the first to the last, but because it is the first album we heard from those artists – those who made a bold and brilliant push right from the get-go! Have a listen and look through the shortlisted best debut album nominations and see which one you would plump for – maybe you have a different view and think one has been omitted! As we near National Album Day, I excited to pull apart, celebrate and commemorate the album…

PHOTO CREDIT: Unsplash/@iammrcup

ANY way I can.

ALL ALBUM COVERS: Getty Images

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Beastie Boys – Licensed to Ill

Release Date: 15th November, 1986

Producers: Rick Rubin, Beastie Boys

Review:

“There is a sense of genuine discovery, of creating new music, that remains years later, after countless plays, countless misinterpretations, countless rip-off acts, even countless apologies from the Beasties, who seemed guilty by how intoxicating the sound of it is, how it makes beer-soaked hedonism sound like the apogee of human experience. And maybe it is, maybe it isn't, but in either case, Licensed to Ill reigns tall among the greatest records of its time” - AllMusic (2011)

Standout Cut: No Sleep till Brooklyn

Patti Smith – Horses

Release Date: 13th December, 1975

Producer: John Cale

Review:

“Jesus died for somebody's sins but not mine." Patti Smith's debut - from that devastating opening line forward - is a unique rock & roll document; its ambitious musical primitivism, anybody-can-do-it-attitude and casual androgyny laid down a blueprint for punk. Twenty-nine years old when the album was released, Smith was a natural, if unlikely, avatar of rock. A published poet and rock critic, she set her beat-tribute "babelogues" to the inspire din of Sixties-style garage rock” - Rolling Stone (1997)

Standout Cut: Gloria (Part I: In Excelsis Deo; Part II: Gloria (Version)

Arctic Monkeys - Whatever People Say I Am, That's What I'm Not

Release Date: 23rd January, 2006

Producers: Jim Abbiss, Alan Smyth

Review:

“At moments like that, Whatever People Say ... defies you not to join in the general excitement, but it's worth sounding a note of caution. We have been here before, a decade ago: critics and public united behind some cocky, working-class northern lads who seemed to tower effortlessly over their competition. The spectre of Oasis lurks around Arctic Monkeys, proof that even the most promising beginnings can turn into a dreary, reactionary bore. For now, however, they look and sound unstoppable” - The Guardian (2006)

Standout Cut: Fake Tales of San Francisco

a

Jeff Buckley – Grace

Release Date: 23rd August, 1994

Producers: Andy Wallace, Jeff Buckley

Review:

“As the son of Tim Buckley – who also died far too young – Jeff was always going to find it difficult to escape his father’s shadow and establish himself as a singular talent. Grace, though, was a remarkable first step – inconsistent certainly, but blessed with moments of arresting, beguiling beauty. It takes most of its compositional cues from fairly classic rock sources (Led Zeppelin, Pink Floyd), but Buckley’s vocals – committed, sincere, stop-you-in-your-tracks intense – marked him as an artist to follow intently. What a tragedy that he was never able to develop further the epic potential of this worthy debut” - BBC Music (2011)   

Standout Cut: Hallelujah

The Beatles – Please Please Me

Release Date: 22nd March, 1963

Producer: George Martin

Review:

“This slightly rough and ready debut is as close as we can get to their early live set.The range of their tastes is reflected in their penchant for slightly saccharine ballads, melody already as important to them as the sharp rhythmic groove and tough rock sensibility of the utterly sensational, snotty version of 'Twist And Shout’, which features a fearless lead vocal from Lennon that defined the way British rock singers would approach the mike ever after” - The Telegraph (2009)   

Standout Cut: Twist and Shout

Guns N’ Roses – Appetite for Destruction

Release Date: 21st July, 1987 

Producer: Mike Clink

Review:

“It’s a surprising closing sentiment for an album so drenched in fear and loathing. But taken of a piece with the band members’ declarations that despite the hard living they were just five guys out to have a good time, it also shows how Guns N’ Roses’ early outlook was as animated not just by its members’ heady stew of influences. Perhaps all that wanton consumption could lead to a place of contentment that offered more than the comfort offered by the Midwest, more than the neon-lit debauchery of clubs’ back rooms—a wandering through the jungle that would open up into paradise” - Pitchfork (2017)    

Standout Cut: Sweet Child o’ Mine

Lauryn Hill – The Miseducation of Lauryn Hill

Release Date: 25th August, 1998

Producers: Lauryn Hill (also exec.), Che Guevara and Vada Nobles

Review:

“What’s most remarkable, in retrospect, as the cult of Lauryn Hill grows stronger (sporadic concert appearances becoming the stuff of myth) is how slight some of her songs are on record. For being almost 80 minutes long, Miseducation is a surprisingly easy listen, coasting mostly on Hill’s simple repetition of phrases to emphasize a mood. By album’s end, a cover of “Can’t Take My Eyes Off of You” (with beatboxing) seems obligatory but still a part of what she does best: Like Amy Winehouse, Hill gets at the heart of ’60s soul while slyly turning it into her own postmodern art project. The album’s simple authenticity is one of its strengths, turning backup vocals into rap refrains and stripping bare much of soul music’s bullshit” - SLANT (2015)  

Standout Cut: Doo Wop (That Thing)

Sex Pistols – Never Mind the Bollocks, Here’s the Sex Pistols

Release Date: 28th October, 1977  

Producers: Chris Thomas, Bill Price

Review:

“In a commercial sense, however, the Sex Pistols will probably destroy no one but themselves, but theirs is a holy or unholy war that isn’t really going to be won or lost by statistics, slick guitar playing or smooth studio work. This band still takes rock & roll personally, as a matter of honor and necessity, and they play with an energy and conviction that is positively transcendent in its madness and fever. Their music isn’t pretty — indeed, it often sounds like two subway trains crashing together under forty feet of mud, victims screaming — but it has an Ahab-versus-Moby Dick power that can shake you like no other music today can. It isn’t particularly accessible either, but, hard to believe and maybe not true, record sales apparently don’t mean much to the Pistols. (They never do when you don’t have any.)” - Rolling Stone (1978)  

Standout Cut: Pretty Vacant

Led Zeppelin – Led Zeppelin

Release Date: 12th January, 1969 

Producer: Jimmy Page

Review:

“Led Zeppelin I is a fantastic glimpse into the time capsule, a standing testament to rock pageantry. If released today, there would still be a place for it in the genre’s decorated history. It set the tone for one of the greatest rock bands of all time. Even if no one knew it yet” - Consequence of Sound (2014)     

Standout Cut: Communication Breakdown

The Stone Roses – The Stone Roses

Release Date: 2nd May, 1989 

Producers: Peter Hook, John Leckie

Review:

“Squire's riffs are bright and catchy, recalling the British Invasion while suggesting the future with their phased, echoey effects. The Stone Roses was a two-fold revolution -- it brought dance music to an audience that was previously obsessed with droning guitars, while it revived the concept of classic pop songwriting, and the repercussions of its achievement could be heard throughout the '90s, even if the Stone Roses could never achieve this level of achievement again” - AllMusic (2009)

Standout Cut: I Wanna Be Adored

Ramones – Ramones

Release Date: 23rd April, 1976  

Producers: Craig Leon, Tommy Ramone

Review:

“They don't alter the structure, or the intent, of the song, they simply make it louder and faster. And that's the key to all of the Ramones' music -- it's simple rock & roll, played simply, loud, and very, very fast. None of the songs clock in at any longer than two and half minutes, and most are considerably shorter. In comparison to some of the music the album inspired, The Ramones sounds a little tame -- it's a little too clean, and compared to their insanely fast live albums, it even sounds a little slow -- but there's no denying that it still sounds brilliantly fresh and intoxicatingly fun” - AllMusic (2010)  

Standout Cut: Judy Is a Punk

Oasis – Definitely Maybe

Release Date: 29th August, 1994  

Producers: Oasis, Mark Coyle; Owen Morris and David Batchelor  

Review:

“It's their much-vaunted 'attitude' that has bolstered Oasis with the confidence to make all this work. The only equivocal thing about 'Definitely Maybe' is its title. Everything else screams certainty. So what if all the singles are here” - NME (2000)

Standout Cut: Live Forever

The Velvet Underground – The Velvet Underground & Nico

Release Date: 12th May, 1967  

Producer: Andy Warhol  

Review:

“Offerings as extreme as "The Black Angels Death Song" or "European Son" were always going to be the moments that really remained in the minds of those brave enough to experience this album. Not many did and unbelievably it remained a semi-obscurity long after its release, with only rock scribes and musicians enhancing its reputation by word of mouth. Acceptance as a 'classic' hasn't diminished its awesome power to shock and provoke one jot. If you've never heard it, your life will be changed. If you've already got it, it's still an essential purchase. A monument to the evil that men (and women) do” - BBC Music (2002 – Deluxe Version Review)

Standout Cut: Venus in Furs

Television – Marquee Moon

Release Date: 8th February, 1977  

Producers: Andy Johns, Tom Verlaine

Review:

“Leader Tom Verlaine wrote all the songs, coproduced with Andy Johns, plays lead guitar in a harrowingly mesmerizing stream-of-nightmare style and sings all his verses like an intelligent chicken being strangled: clearly, he dominates this quartet. Television is his vehicle for the portrayal of an arid, despairing sensibility, musically rendered by loud, stark repetitive guitar riffs that build in every one of Marquee Moon‘s eight songs to nearly out-of-control climaxes. The songs often concern concepts or inanimate objects — “Friction,” “Elevation,” “Venus” (de Milo, that is) — and when pressed Verlaine even opts for the mechanical over the natural: in the title song, he doesn’t think that a movie marquee glows like the moon; he feels that the moon resonates with the same evocative force as a movie marquee...

When one can make out the lyrics, they often prove to be only non sequiturs, or phrases that fit metrically but express little, or puffy aphorisms or chants. (The chorus of “Prove It” repeats, to a delightful sprung-reggae beat: “Prove it/Just the facts/The confidential” a few times.)” - Rolling Stone (1977)

Standout Cut: Marquee Moon

Joy Division - Unknown Pleasures

Release Date: 15th June, 1979

Producer: Martin Hannett

Review:

“Ian Curtis synthesizes and purifies every last impulse, his voice shot through with the desire first and foremost to connect, only connect -- as "Candidate" plaintively states, "I tried to get to you/You treat me like this." Pick any song: the nervous death dance of "She's Lost Control"; the harrowing call for release "New Dawn Fades," all four members in perfect sync; the romance in hell of "Shadowplay"; "Insight" and its nervous drive toward some sort of apocalypse. All visceral, all emotional, all theatrical, all perfect -- one of the best albums ever” - AllMusic (2012)    

Standout Cut: She’s Lost Control