FEATURE: Kate Bush: Something Like a Song: Heads We’re Dancing (The Sensual World)

FEATURE:

 

 

Kate Bush: Something Like a Song

IN THIS PHOTO: Kate Bush in 1989/PHOTO CREDIT: John Carder Bush

Heads We’re Dancing (The Sensual World)

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I have not spotlighted this song…

IN THIS PHOTO: Charli xcx attends the 2025 Met Gala/PHOTO CREDIT: Getty Images

for a while, as I thought it was overdue an outing. A track from her 1989 album, The Sensual world, Heads We’re Dancing has a fascinating story and angle. Charli xcx mentioned in an interview how her favourite Kate Bush album, the one that defined her, is The Sensual World. Her favourite song from the album is the beguiling Heads We’re Dancing. I don’t know if this is still the case, though I thought it was interesting and cool that a modern Pop great spoke about a Kate Bush deep cut. Rather than go for an obvious song and album, she helped give light to a song especially not well known or played. It is one of many diamonds on Kate Bush’s sixth studio album. Maybe I have written about Heads We’re Dancing as a deep cut. However, I want to elevate it and show that it is one of the highlights from The Sensual World. The Charli xcx-approved gem could only have been written by Kate Bush. So out-there and unexpected is its inspiration. I am going to the Kate Bush Encyclopedia, as they have some interview archive where Kate Bush discusses the inspiration behind Heads We’re Dancing:

“That’s a very dark song, not funny at all! (…) I wrote the song two years ago, and in lots of ways I wouldn’t write a song like it now. I’d really hate it if people were offended by this…But it was all started by a family friend, years ago, who’d been to dinner and sat next to this guy who was really fascinating, so charming. They sat all night chatting and joking. And next day he found out it was Oppenheimer. And this friend was horrified because he really despised what the guy stood for. I understood the reaction, but I felt a bit sorry for Oppenheimer. He tried to live with what he’d done, and actually, I think, committed suicide. But I was so intrigued by this idea of my friend being so taken by this person until they knew who they were, and then it completely changing their attitude. So I was thinking, what if you met the Devil? The Ultimate One: charming, elegant, well spoken. Then it turned into this whole idea of a girl being at a dance and this guy coming up, cocky and charming, and she dances with him. Then a couple of days later she sees in the paper that it was Hitler. Complete horror: she was that close, perhaps could’ve changed history. Hitler was very attractive to women because he was such a powerful figure, yet such an evil guy. I’d hate to feel I was glorifying the situation, but I do know that whereas in a piece of film it would be quite acceptable, in a song it’s a little bit sensitive.

Len Brown, ‘In the Realm of the Senses’. NME (UK), 7 October 1989

It’s a very dark idea, but it’s the idea of this girl who goes to a big ball; very expensive, romantic, exciting, and it’s 1939, before the war starts. And this guy, very charming, very sweet-spoken, comes up and asks her to dance but he does it by throwing a coin and he says, “If the coin lands with heads facing up, then we dance!” Even that’s a very attractive ‘come on’, isn’t it? And the idea is that she enjoys his company and dances with him and, days later, she sees in the paper who it is, and she is hit with this absolute horror – absolute horror. What could be worse? To have been so close to the man… she could have tried to kill him… she could have tried to change history, had she known at that point what was actually happening. And I think Hitler is a person who fooled so many people. He fooled nations of people. And I don’t think you can blame those people for being fooled, and maybe it’s these very charming people… maybe evil is not always in the guise you expect it to be.

Roger Scott, BBC Radio 1, 14 October 1989”.

All the lyrics are terrific, though I love how she leads in. Right from the first few lines, we are drawn into this dark and compelling introduction: “You talked me into the game of chance/It was ’39, before the music started/When you walked up to me and you said/“Hey, heads we dance.”/Well, I didn’t know who you were/Until I saw the morning paper/There was a picture of you/A picture of you ‘cross the front page./It looked just like you, just like you in every way/But it couldn’t be true/It couldn’t be true/You stepped out of a stranger”. There is this beauty and sense of the orchestra about Heads We’re Dancing. Nigel Kennedy on the viola (he would also be one of the musicians to the follow-up of The Sensual World, 1993’s The Red Shoes). Alan Murphy on guitar. I think Del Palmer plays percussion in addition to rhythm guitar. Jonathan Williams on the cello. Orchestration by the late great Michael Kamen. One reason why Del Palmer does not play bass on the track is because we get this wonderful performance by Mick Karn. Unorthodox and uncommercial, Bush praised his performance in an interview from 1989: “He’s very distinctive – so many people admire him because he stays in that unorthodox area, he doesn’t come into the commercial world – he just does his thing”.

There is not a lot written about Heads We’re Dancing. However, there are one or two features. Unlike other Kate Bush songs that are not really known and have nothing written them, perhaps the stranger story and inspiration means that people are compelled to share their thoughts. I really love the fact Charli xcx has name-checked the song. I think the last time I wrote about Head’s We Dancing was in 2020. I want to explore it once more. Before quoting form a feature about the song, I want to highlight critical reviews of The Sensual World where Heads We’re Dancing is mentioned. When Pitchfork reviewed The Sensual World in 2019, they said this about Heads We’re Dancing: “Even its most surreal songs are rooted in self-examination. “Heads We’re Dancing” seems like a dark joke—a young girl is charmed on to the dancefloor by a man she later learns is Adolf Hitler—but poses a troubling question: What does it say about you, if you couldn’t see through the devil’s disguise? Its discordant, skronky rhythms make it feel like a formal ball taking place in a fever dream, and Bush’s voice grows increasingly panicky as she realizes how badly she’s been duped. As far-fetched as its premise was, its inspiration lay close to home: A family friend had told Bush how shaken they’d been after they’d taken a shine to a dashing stranger at a dinner party, only to find out they’d been chatting to Robert Oppenheimer.Bottom of Form It’s more fanciful than most of The Sensual World’s little secrets. To hear someone recall formative childhood truths (the lush grandeur of “Reaching Out”) and lingering romantic pipedreams (the longing of “Never Be Mine”) is like being given a reel of their memory tapes and discovering what makes them tick”. The BBC gave it a brief mention when they reviewed The Sensual World in 2009: "Heads We’re Dancing", which sounds the most 80s of anything here (think electronic power drum beats and synthy-guitars) is a complete contrast, telling the tale of a woman dancing all night with a stranger who turns out to be Hitler”.

Maybe this is another Kate Bush song that could not be made today (see also Never for Ever’s The Infant Kiss). In 2023, Far Out Magazine reacted to a song where there is a romanticism of Adolf Hitler. Those Bush would never glorify something so horrific or a person like him, it shows her bravery and boldness as an artist. Nobody else in 1989 writing songs like this! How would any of us react if we are in the situation of dancing with the worst person in the world?! Unless we are unfortunate enough to be invited to The White House, it is a slim possibility! However, I am endlessly fascinated by Heads We’re Dancing. A song from The Sensual World nobody talks about (see also Between a Man and a Woman and The Fog). It is one of the clear highlights:

“However, the idea that someone could become drawn to a person until they knew who they were only intrigued her further, and soon she asked herself, “What if you met the Devil? The Ultimate One: charming, elegant, well spoken. Then it turned into this whole idea of a girl being at a dance and this guy coming up, cocky and charming, and she dances with him.”

Who would be the ultimate figure when it comes to envisioning the most evil person to ever exist? One that says, “If the coin lands with heads facing up, then we dance!” in a softly-spoken voice, with no indication whatsoever that he might be harbouring some big, dark secret? For Bush, Adolf Hitler was the only person to fit the role. “The idea is that she enjoys his company and dances with him and, days later, she sees in the paper who it is, and she is hit with this absolute horror – absolute horror,” she sad. “What could be worse? To have been so close to the man… she could have tried to kill him… she could have tried to change history, had she known at that point what was actually happening.”

However, perhaps most importantly, Bush is in no way condoning attraction to criminality; instead, it’s an exploration of how our judgement can be clouded when someone appears nothing but friendly on the surface. She explained this, adding: “I think Hitler is a person who fooled so many people. He fooled nations of people. And I don’t think you can blame those people for being fooled, and maybe it’s these very charming people… maybe evil is not always in the guise you expect it to be.”

Although Bush understands that ‘Heads We’re Dancing’ could be seen as “glorifying the situation” and recognises the fact that she wouldn’t ever make a song like this now, it still begs the all-important question about human nature: would we know it if evil was staring us in the face?”.

In 2020, Joe Corr, for Medium, shared more words about Heads We’re Dancing than every other human being in history. A detailed and deep exploration of a song that has political connotations and parallels today, it is a great article. I have chosen parts of it that are particularly interesting, attitude and worthy. A feature that emphasises why more people need to hear this song:

“The whole album deals with the trajectory of growing and manoeuvring through a world of sensual experiences. It charts the highs as well as the lows, where the joyous imagining of Molly Bloom entering our three-dimensional world is contrasted against tales of dangerous obsession (A Deeper Understanding) and of desires being snuffed out by reality and leading to heartbreak (Never be Mine). A lyric on the latter, a confession of “I want you as the dream, not the reality’’, reflects an important component of The Sensual World’s vantage point on sensuality — that of recognising the barrier between fantasy and fact, of desires and realities, that takes on a new relevance when applied to Heads We’re Dancing. The song embodies that horrifying moment where pleasures become pain — perhaps where we recognise that our habits are dangerous, our vices degenerative, and that now it is too late to change and the damage is done. Here it is presented with extremity — being seduced by a fascist dictator, on the eve of a world war — but it can be easily scaled down to represent any person, thing or idea that enters into your life and seduces you into acting with careless abandon. As Bush states above, Hitler stands in as a perfect metaphor for destructive behaviours or obsessions because he was so seductive to the German public, and this was so intrinsically tied to his villainy — 1939 was both the year Hitler threatened the extermination of ‘the Jewish race in Europe’ in the Reichstag, and the year he was voted Time Magazine’s Man of the Year.

What’s more, the timing of the tale suggests that our protagonist is a victim of either their own self-delusion, or perhaps their own ignorance — after all, Hitler was a known figure worldwide before 1939. Which loops us back into one of The Sensual World’s other dominant themes, that of growing up. Of course, sensuality and maturity are intrinsically linked — it is through making our mistakes and exploring the pleasures of the flesh that we emerge into functioning adults. Head’s We’re Dancing is not only a warning, but something of a recognition — a recognition of the mistakes we must make in order to learn and become better people. Regret is a powerful and formative emotion, as expressed on the albums biggest hit This Woman’s Work: “I should be hoping, but I can’t stop thinking — of the things we should’ve said that we never said, of all the things we should’ve done though we never did”.

Heads We’re Dancing may in fact stand as her last overtly political parable, and it retains all of the bite of its predecessors. In many ways Heads We’re Dancing serves as a watermark in Bush’s career, much like its parent album. Rarely again would Bush return to such an aggressive tone in her songs (The Big Lie on The Red Shoes being one exception), and though she continued to pen some outlandish lyrics going forward, Heads We’re Dancing was the last time she truly went off the wall and dabbled with controversy. As such, it remains one of her most undervalued and underappreciated songs, resigned to be a quirky deep-cut on a record overflowing with some of her most lush and romantic recordings. I hope that here I have made a case for it as one of her crowning achievements, a piece of art that unifies all of the things that make Bush such a landmark talent”.

There is a lot to love and discuss about Heads We’re Dancing. I actually think an artist could release a track like this today. However, we would be talking about someone like Donald Trump. A flip of a coin and this game of chance. Kate Bush (or the heroine) being talked into a dance with the most evil man in history. Even for Kate Bush, this was such a brilliantly unusual source of inspiration. Nothing quite like it on The Sensual World. Showing how you could never predict what she would do next! Overlooked and ignored, Heads We’re Dancing is simply…

A phenomenal song.

FEATURE: The Best Albums of 2025: Antony Szmerek - Service Station at the End of the Universe

FEATURE:

 

 

The Best Albums of 2025

Antony Szmerek - Service Station at the End of the Universe

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ONE of my absolute favourite albums…

PHOTO CREDIT: Ed Miles for DIY

of this year arrived from Antony Szmerek. His debut album, Service Station at the End of the Universe, was released in February. I have been a fan for a little while now and I love the way he mixes slice-of-life observations that are poetic, humorous and have his voice at the front – and yet so many can relate. A blend of Hip-Hop and Spoken Word, his lyrics and delivering are hypnotic and arresting. I am going to end with a positive review for the divine Service Station at the End of the Universe. I feel like the album should have got a Mercury Prize nod. It was a competitive and great year, though Antony Szmerek was worthy of inclusion in the shortlist. I am going to start off with an interview from DIY. Speaking with an artist who was this evocative and witty new voice whose debut takes us beyond the cosmos, there is something universal about his debut. And yet Antony Szmerek produces distinctly British stories:

“Having first cut his teeth via spoken word and open mic nights around his home city while balancing a day job as a teacher, it was only in 2022 that he first garnered attention via intimately whipsmart early single ‘Hitchhiker’s Guide To The Fallacy’ – a track that would throw open the doors to his witty observations on the everyday thrum of life. Since then, he’s been thrust into a whirlwind of change: performing on Later… with Jools Holland; being named one of BBC 6 Music’s Artists of the Year in 2023; releasing two EPs, ‘Poems To Dance To’ and ‘Seasoning’; and leaving his previous vocation behind to concentrate on music full-time.

“A year ago! One year ago,” Antony reflects today, thinking back to December 2023 when he hung up his teaching cap. “That whole year when I was still teaching – I did Jools Holland in that time, I did Glastonbury, Reading and Leeds for the first time – that was hard, that was when I really started to lose my mind. I was teaching at a college in Salford, doing four days a week. The last day I went in, I didn’t even realise it was my last day! I was fully split, living a double life.”

Even now, officially twelve months in, you can tell it still hasn’t quite sunk in. “It is a real album!” he quips at one point on his impending full-length. “That’s a hard thing for me to… It’s hard releasing something when you know it’s going to have an audience. Watching publications saying ‘these are the records coming out at the start of the year’, and mine’s one of them – and it’s got as good a chance as any of them of being held by people, which is just mad. It doesn’t quite feel real; maybe that’ll happen when I’m 80!”

While the backdrop to the record is, as its title offers, an intergalactic service station dotted with the kind of evocative details that would give The Jetsons a run for their money (take the self-titled opener’s “mid life crisis convertible star cruiser” or the kid riding a “coin operated meteorite”), the album’s heart is still very much about its cast. Built from his idea of the record “being an anthology, with these characters coming in and out”, each track acts as a detailed but universal vignette of life and love, doubt and loss, that just happens to take place in a galaxy far, far away.

“I think you don’t want it to be elitist,” Antony notes, on his candid approach to lyricism, that comes partly inspired by his own musical heroes – and fellow Northerners – Jarvis Cocker and Alex Turner. “I’ve got out of the habit of wanting to say clever words and trying to make it all seem grandiose, or that I’m dead smart because I know all these big words and everything. You’re trying to distil huge concepts that are probably quite wanky, but in a way where everyone can get on board. That’s teaching, I guess,” he nods. “I think I wouldn’t have been immune to doing that if I’d done this earlier on. [When you’re younger] you’re slightly more insecure, and a bit like, ‘this song needs to be clever or it needs to feel like I’m well-read’,” he adds, nodding to the positives of being in your mid-30s. “I think if you step away from that, you’re gonna make better stuff. I’m not averse to throwing in a huge word every now and again, but I’ll still talk about Twixes.”

An album that runs the gamut of human emotion – from the minutiae to the mammoth – if ‘Service Station At The End Of The Universe’ achieves anything, it’s to remind us that life is fleeting, and we might never understand what others are going through. But if its mission statement was, indeed, to kick into ‘sincerity overdrive’, then it’s only because of the vulnerability and openness of its author that it actually hits the mark.

“I’m a bit worried about it,” Antony says candidly, on the idea of performing the pair of more autobiographical tracks live in his upcoming live shows. “We’re gonna finish [the set] triumphantly with a big tune, and then I think I’ll come back on my own [for the encore], and I’ll probably destroy my fucking self. I think doing [those songs] at home, in front of all my friends, my family and my mum, that’s gonna be super difficult,” he says honestly, before a familiar glint appears in his eye. “But then, what’s the point in doing it if you’re not giving everything? That’s the point of the show, it’s the missing piece. I couldn’t do ‘sincerity overdrive’ without pushing myself to the limit there! I’ll cry on stage,” he nods, before catching himself, “but probably not even at that bit – probably during ‘Yoga Teacher’ for no reason. Too horny, started crying!”.

I want to highlight an interview from PRS for Music from April. They were doing a series focusing on artists on the road and their experiences. Antony Szmerek discussed the importance of PRS, but he also revealed what it was like playing the prestigious SXSW. Something that is a dream and goal for so many artists:

“With influences that range from ‘00s hip-hop to pop and British indie greats, Antony’s wide-ranging approach bleeds into his stage presence, which is filled with generosity and spirit. Back in March he flew out to SXSW in Austin, Texas to make his US live debut — funded by a grant from BBC Introducing and PRS Foundation — before returning to the UK to embark on a run of headline shows, including a sold-out night at his hometown’s Albert Hall.

With his tour now extending into Europe and a summer filled with festival appearances, M caught up with Antony for the inaugural edition of our new On The Road series to hear, in his own words, what it's like to grow and thrive as a live act in 2025.

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‘Travelling to Austin and performing at SXSW was life-changing. I think there was a weird sense of anticipation on the plane there [from London], as many of us artists who had received funding wound up sitting together. I would find myself peeking over seats and thinking, “What’s corto.alto watching on the TV there?”, or I’d turn around and spot Jasmine.4.t, and we’d wave at each other.

‘I’d never been to the US before heading to SXSW, nor had my band. None of us! It was pretty mad knowing that the music I made at home — so much of which is specific to a time or location — was going to be performed live all the way out in Texas. There was definitely a sense of all of us artists feeling the excitement and thinking to ourselves, “How did we get here?”

‘We played to nearly entirely American crowds. They were all amazing. I think before performing in the States, you can get stuck in your head and your own perceptions; I was trying not to mention line dancing whenever it came to crowd participation. We played at this dive bar one night, which was great — it felt like being in a film. I think I was worried about some of the niche references in my music: for instance, I thought that singing about the Stockport Pyramid would be lost on some people!

‘I think people have different ideas about what SXSW is going to be. Some artists, for example, will aim to get a US agent or radio plugger while they are out there. But I think as an artist, the most important thing is to remain in charge of what your shows look like, and make sure that everyone [in the crowd] has a good time each night you play. If you do that, then all of those other things will come naturally.

‘I met so many fellow British artists while I was out there, which was incredibly special. We were hopping between bars and sharing instruments, or borrowing each other’s equipment when things went wrong. I left the festival with this real sense of community, which energised me ahead of the UK tour that I set out on the following week. It made me realise that this is why I make music. In Austin, I watched a lot of shows — including [bands like] Maruja and Big Special — and came away having had some of the best experiences of live music that I have ever had. I felt incredibly inspired. It was a transformative trip in so many ways.

‘Crucially, we wouldn’t have been able to go to SXSW without the grant that we received from PRS Foundation. I wanted to make sure I had my album out before playing the festival, so I knew that I wasn’t ready for SXSW in 2024. At the start of this year, however, we got the funds we needed to head over to Austin, and as a result of playing out there, we are probably a million miles better and stronger as a live act. Obviously there's now a million things in my [iPhone] Notes about what we saw along the way: there was a blood moon eclipse, and we also experienced a thunderstorm while travelling back!”.

DORK chatted with Antony Szmierek in February. Going from being a teacher – I am not sure if he still teaches now and then – to an Indie-Dance/Hip-Hop hero who is making this striking music, it is always revealing reading interviews. An artist who can make the mundane so important and almost spiritual, there have been a lot of comparisons with The Streets’ Mike Skinner. How he could deliver these scintillating, witty and relatable songs but back them with incredible compositions. Making them epic and swelling. That fusion of the ordinary and extraordinary. Something that Antony Szmierek does throughout the sublime Service Station at the End of The Universe:

“‘Service Station At The End Of The Universe’ transforms a motorway services on Antony’s fantasy motorway, Andromeda Southbound, from a place where dreams go to die into a study of social complexity, following the lives of the different characters that pass through on their way to a yoga class, a wedding, or back home to the one they love.

Introducing characters that in part represent Antony’s beloved North West upbringing, such as “the Patron Saint of Withington” in ‘Rafters’, but also illuminate parts of Antony’s own personality and questions that he himself deals with on a daily basis. Whether it’s accusations of being a class traitor in ‘Yoga Teacher’ or trying to cope with overthinking and existentialism in ‘The Great Pyramid of Stockport’, Antony’s whole self is poured into every aspect of the record, making it as genuine and believable as it could be.

Drawing on his eternal love for ‘The Hitchhiker’s Guide To The Galaxy’, one that ignited Antony’s passion for language, as well as local landmarks that have become key pillars of his life thus far, every picture is painted with nuance, style, and an observational accuracy that even the most experienced novelists struggle to recreate.

Pulling different literary ideas to the edges of their existence and rewinding threads to fit his huge new universe allowed Antony to create more lyrical layers than is possible on singles and EPs and underscores his immense writing talent.

“I guess in a way writing it was a lot like teaching,” Antony posits, “there’s something for the five kids in the class who really want to listen and pick up hidden meaning, but that doesn’t mean that there isn’t also something for people who just want really fun tunes with a good hook. I sort of take on this role of almost an omniscient narrator but also become the characters, it all winds together in the end.”

PHOTO CREDIT: Patrick Gunning

This ethos is at the heart of almost every track on the record, taking a seemingly everyday object or idea and elevating it into something with a profound and often existential meaning. The most obvious example of that comes from single ‘The Great Pyramid of Stockport’, which sees Antony take a local landmark and draw threads to the Pyramids of Giza, using two structures built centuries apart to explore legacy in a world that values speed and innovation.

“I was really surprised that nobody had written a song about it before; I was certain that Blossoms were gonna mention it on their album! On the surface, it just sounds like a song about this insurance company’s office in Stockport, but there’s a lot on there about getting older and time never stopping. There’s also a line about me cancelling plans because nothing feels real and I’m in tears in my bedroom, which sounds mad to have in a song about a big blue pyramid. I basically use observations as a way of projecting quite a complex idea, so the Stockport Pyramid actually ends up representing the question: ‘What’s the point in any of this?’”

Taking his cues from goth giants The Cure, Antony tried to be as sneaky as possible with his introspection, peppering super vulnerable lines into songs that you can only pick up on after a few listens. In this way, the album is able to bring together complex trauma responses and deep-rooted existential anxiety without ever getting weighed down by heavy topics. 

“I definitely consider the album to have a Side A and Side B, and it is a spiral; everyone’s meeting at this service station before they go off and do whatever it is they do to make this meaningless existence worthwhile, like falling in love or going to a yoga lesson, and then it’s like ‘fuck, what if none of this means anything?’”

This hitman-like style of hiding his vulnerabilities comes to a head in ‘Restless Leg Syndrome’, a stream of consciousness that acts as the end of the album’s spiral, representing rock bottom before the album bounces back to peace, love, and joy. It’s fair to say that it’s the song on the album that is likely to become a fan favourite thanks to its brave open-heartedness, but also the one that Antony struggles with the most.

“I just worry it’s a bit much,” Antony states, “I’m proud of it, and I’m glad it’s on the record, but it’s the only one where I didn’t hide any lyrics, and it’s a bit scary. We’ve had to play it back to management, and the label and stuff, and people seem to like it, but I have to cover my ears and look away. I’m dreading playing it live the first time because I can’t get through it without crying at the moment.”

He continues: “I still wanted the record to be optimism bottled, though, and that’s why it ends on ‘Angie’s Wedding’. I guess it’s an allegory for heaven, it’s not elitist, everyone can go, it’s a celebration. I just needed to resolve it and say, ‘It’s all going to be ok in the end’, instead of ending on ‘Restless Leg Syndrome’ or ‘Crashing Up’, which is about getting older and having eczema; what a nightmare life is!”

Sonically, the record is as rooted in Antony’s personal and local past as the lyrical subject matter, clearly marked by Forton Service Station’s Pennine Tower adorning the album cover. Initially, though, re-establishing these close ties to the historically well-documented Manchester music scene was something that Antony pushed back against.

“I looked away from Manchester at first because I was trying to subvert my own expectations and second-guess what might come later, but it reached a point where I was like, ‘Nobody knows who you are yet; you’ve got to stick to who you are and what you do’”.

I will end with a review. Providing a five-star glowing assessment of one of this year’s most dazzling and distinct debut album, DIY took us back to Antony Szmierek’s earliest work. To show how he has progressed and where he has come from. He has some live dates booked for next year, so do go ands catch him if you can. I am really thrilled at all the attention has got and the fact his music has connected with so many people. I have heard that his live shows are the stuff of legends. I shall have to see Szmierek play if he comes to London:

“To understand Antony Szmierek look no further than the title of his 2023 EP, ‘Poems To Dance To’, an apt depiction of the ex-English teacher’s rising blend of rhythmic spoken word and dancefloor ready production laying the backdrop for musings ranging from personal relationships to obscure places, and a poignant balance of fantasy and heavy realism. The sci-fi inspired title, a nod to Antony’s childhood favourite ‘A Hitchhiker’s Guide to The Galaxy’ that also spurned his breakthrough track, lays the path for references to home city landmarks, from the looming Stockport pyramid to the North West’s right-of-passage pub crawl, the Didsbury Dozen. It’s indicative of his outlook on his surroundings, an ever-blurred line between the tangible and the intangible, and one that will draw inevitable and not unjustified comparisons to the work of Mike Skinner. It’s prominent in the interlude’s respite found in the service station, a transient place that provides much needed consistency to the protagonist. His understanding of place grounds the otherwise lofty musings, not least the stunning stream of consciousness rising out of highlight ‘Restless Leg Syndrome’. It’s this stark contrast between the emotive and the physical that underpins much of his writing, mirrored further in the record’s pairing of poetry and inherently British genres ranging from acid house to garage and beyond. ‘Service Station…’ glides through this constant push and pull, a timeless portrayal of both the physical and emotional connection to people and place; fundamentally British yet beautifully universal”.

One of my absolute favourite albums of this year, Antony Szmierek’s Service Station at the End of the Universe is endlessly listenable. You will come back time and time again. In terms of highlights, I think Yoga Teacher and Angie’s Wedding. All twelve tracks are jewels. Anyone who has not heard this album or knows about Service Station at the End of the Universe should correct that, as Antony Szmierek is someone you will be…

HEARING a lot more from.

FEATURE: Groovelines: John Lennon and Yoko Ono and the Plastic Ono Band with the Harlem Community Choir - Happy Xmas (War Is Over)

FEATURE:

 

 

Groovelines

John Lennon and Yoko Ono and the Plastic Ono Band with the Harlem Community Choir - Happy Xmas (War Is Over)

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A big reason…

IN THIS PHOTO: John Lennon and Yoko Ono with the Harlem Community Choir at Record Plant Studios, N.Y.C. in 1971/PHOTO CREDIT: Iain Macmillan

as to why I am featuring this Christmas classic in Groovelines is because it is one of the best ever. Perhaps not ranked alongside the best Christmas songs ever, perhaps people think the political nature or sense of protest maybe takes something away. That we need all joy and escape rather than something that is a bit more important and deep. Some have criticised the song because its messages are wrapped up in novelty and there is really not this appropriate blend. That the song misfires somewhat. However, I do feel that Happy Xmas (War Is Over) is a fantastic song. Its B-side is Listen, the Snow is Falling. Even though the song has a black mark because it was co-produced by Phil Spector, this magical and tireless – and, sadly, always-relevant – Christmas gem is credited to John Lennon and Yoko Ono and the Plastic Ono Band with the Harlem Community Choir. Written by John Lennon and Yoko Ono, I shall end with a few features that rank Christmas songs, so we can see what they say about Happy Xmas (War Is Over). Rather than write a Christmas song that is all about thinking of ourselves and the cliché images, Lennon and Ono penned this plea for pacifism and an end to war. However, as we are in 2025 and there is bloodshed around the world, you wonder whether those messages and wishes will ever go fulfilled. I am going to get to some features about this incredible and moving son. Before that, let’s discover more about the reception for and popularity of Happy Christmas (War Is Over):

“On its US single debut in 1971, "Happy Xmas (War Is Over)" did not meet with much success. This was due to the single's late release, which resulted in limited airplay before Christmas, and a lack of promotion. The single peaked at number 36 on the Cash Box Top 100 Singles and number 28 on the Record World Singles Chart, and number 3 on the Billboard Christmas Singles chart. The single subsequently re-appeared on the Billboard Christmas charts in 1972, 1983, 1984, and 1985. The song appeared at number 32 on the Billboard Hot Adult Contemporary chart for the week ending 6 January 1996. The song's most recent chart entry, and highest position, on the Billboard Hot 100 chart was in 2022, where it peaked at #38 for the week ending 31 December 2022.

"Happy Xmas (War Is Over)" enjoyed immediate success in Britain when issued there in November 1972. The song peaked at number 4 on the UK Singles Chart and number 10 on the listings compiled by Melody Maker. Since then, it has re-entered the UK Singles Chart nine more times. The most notable of these instances occurred immediately following Lennon's death on 8 December 1980. The single peaked at number 2 – behind another reissued Lennon single, "Imagine" – and remained on the chart for nine weeks”.

Another reason for me choosing this song to highlight is a sad one. On 8th December, 1980, John Lennon was killed. He was shot. It somehow gives Happy Xmas (War Is Over) a new dimension. When Lennon wrote the song with Ono, he was genuinely asking for peace. The fact he had his love taken by violence makes the song more powerful and urgent. Forty-five years after his death, I don’t think any songwriter like Lennon has come along. There have been covers of Happy Xmas (War Is Over), including those by Miley Cyrus, and Celine Dion. American Songwriter explored the song in a feature from last year. Noting how it is rare to get a festive song that is about peace and ending war, we have not heard many Christmas songs with the same intent and messages. Maybe there should be:

“After the success of Lennon’s 1971 hit, “Imagine,” he had a personal realization that, in part, led to his holiday song. Lennon said, “Now I understand what you have to do: Put your political message across with a little honey.”

From 1963 to 1969, the Beatles had issued special recordings around Christmas directly to members of their fan club. After the group broke up in 1970, Lennon was the first former Mop Top to release an original Christmas tune. Later George Harrison released, “Ding Dong, Ding Dong” in 1974, and Paul McCartney released “Wonderful Christmastime” in 1979. Ringo Starr released his album, I Wanna Be Santa Claus, in 1999.

“Happy Xmas (War Is Over)” began in October 1971 with a simple demo that Lennon recorded in his suite at the St. Regis Hotel in New York City, where he and Ono lived. Ono received songwriting credit but she does not appear on the original demo. A second demo of the song was made later that month when Lennon and Ono moved to another NYC apartment in Greenwich Village.

To record the track, as he’d done for prior songs, Lennon called in producer Phil Spector. According to legend, when Lennon played the first line, So this is Christmas… Spector told Lennon it was rhythmically the same as the 1961 single Spector produced by the Paris Sisters, “I Love How You Love Me.” In the studio, Lennon wanted mandolin-style riffs as he heard in the 1971 Spector-and Harrison-produced single, “Try Some, Buy Some.”

The Beatles’ Apple Records released “Happy Xmas (War Is Over”) as one side of a 7″ with the Plastic Ono Band track and “Listen, the Snow Is Falling” on the other side, in 1971. It came out on transparent green vinyl. A dispute between Lennon and a music publisher delayed the release in the United Kingdom until late November 1972.

“Happy Xmas (War Is Over)” first appeared on an album when it was released on the LP, Shaved Fish, which was the only compilation of the former Mop Top’s solo recordings released while he was alive. It came out in 1975. Later, a rough mix from the original recording session in October 1971 was released in 1998 on the compilation, John Lennon Anthology”.

Far Out Magazine discussed the story behind Happy Xmas (War Is Over). Wirth beautiful chorus singing from the Harlem Community Choir, this is a song that has this beauty and sobering nature. A blend of the optimistic and solemn. Whilst most Christmas songs seem empty but joyful, John Lennon wanted to create something more meaningful. Disrupt, very briefly, the stereotypical Christmas narrative:

“By 1971, Lennon had tried everything: taking to the streets, attending rallies, and even staying in bed. Eventually, he came to the conclusion that the best thing he could do to get his message across was to use his “bigger than Jesus” global influence to his advantage. This led him to release ‘Happy Xmas (War is Over) on November 24th, 1971, precisely a month before Christmas Eve.

Though Lennon would later claim that he wrote ‘Happy Xmas (War Is Over)’ because he was tired of hearing ‘White Christmas’, the song wasn’t a purely commercial gesture. It arrived after more than two years of peace activism, which began with those two ‘bed-ins’ in March and May 1969. Lennon realised that systemic change would only be possible with the cooperation of ordinary, working people. “The people are unaware,” he said. “It’s like they’re not educated to realise that they have power.”

With this in mind, John and Yoko set about devising a campaign to allow their radical message entry into the homes of everyday Americans. Their idea was to make peace unignorable. Renting billboard spaces in 12 major cities around the world, they erected black and white posters reading: “WAR IS OVER! If You Want It – Happy Christmas from John & Yoko”, a slogan that had already appeared in Phil Ochs anti-war anthem ‘The War Is Over’ and The Doors’ ‘The Unknown Solider’ – both released in 1968.

Riffing on themes of social unity, personal accountability and peace, Lennon recorded a rough acoustic demo of ‘Happy Xmas (War Is Over)’ in October 1971 in his and Yoko’s room at the St Regis Hotel in New York. He then brought it to producer Phil Spector, who noted that the song’s opening line, “And so this is Christmas,” was rhythmically identical to his 1961 Paris Sisters single ‘I Love How You Love Me’.

Spector oversaw the recording session, allowing Lennon and Ono to record private Christmas messages to their children, Kyoko and Julian. After handing the session guitarists mandolins and asking them to play a riff similar to the one heard in Ronnie Spector and George Harrison’s ‘Try Some, Buy Some’, Lennon and Ono recorded vocals with 30 children from the Harlem Community Choir, heightening the track’s cut-through appeal.

Strangely, ‘Happy Xmas (War Is Over) wasn’t a hit in the US. Its late release meant that it had limited airplay before Christmas. A publishing dispute also delayed the song’s release in the UK until November 1972, when it rose to number four in the charts. After Lennon died in 1980, it reached number two and has remained a Christmas classic ever since.

Written out of a desire to change the world, ‘Happy Xmas (War Is Over)’ reminds us that the best Christmas songs are coincidentally festive. Lennon’s desire was to craft an enduring message for peace. Though Paul McCartney would later criticise this commercialised approach to peace activism, one that he regarded as wilfully ignorant, the optimism at the heart of ‘Happy Xmas’ remains essential”.

Released on 24th November, 1971 in the U.K. and 1st December, 1971 in the U.S., there are a couple of other features I want to come to. The Beatles Bible provide the details about personnel and recording dates of Happy Xmas (War Is Over). Nearly fifty-five years after its release, you do wonder whether its messages will connect with the wider world. I think that John Lennon and Ono oinspired a lot artists with this song. Think of the other three Beatles, Paul McCartney, George Harrison and Ringo Starr, and how they have all campaigned for peace and bring thatg into their music. Or have done. During such a turbulent time in the late-1960s and early-1970s, Happy Xmas (War Is Over) seemed like something Lennon and Ono simply had to write:

“Although ‘Happy Xmas (War Is Over)’ was ostensibly about the Vietnam war, it proved a universal message understood worldwide. Lennon had experimented with anthemic messages in songs such as ‘Give Peace A Chance’ and ‘Power To The People’, and again produced a simple lyrical refrain which he hoped anyone could understand.

‘Happy Xmas’ Yoko and I wrote together. It says, ‘War is over if you want it.’ It was still that same message – the idea that we’re just as responsible as the man who pushes the button. As long as people imagine that somebody’s doing it to them, and that they have no control, then they have no control.

John Lennon, 1980
All We Are Saying, David Sheff

Lennon recorded a home demo of ‘Happy Xmas (War Is Over)’ in early October 1971. Few of the words were in place, but the melody and structure was mostly complete. Lennon evidently had trouble singing the high notes of the middle section, as sung by Ono in the final version.

Both Lennon and Phil Spector claimed the song’s melody was based on The Paris Sisters’ 1961 hit ‘I Love How You Love Me’, which Spector produced. However, the verses are more closely related to Peter, Paul and Mary’s version of the American folk song ‘Stewball’.

A rough mix of the song, titled simply ‘Happy Xmas’, was included on the 1998 box set John Lennon Anthology. 

In the studio

The basic track for ‘Happy Xmas (War Is Over)’ was recorded at the Record Plant East in New York City on 28 October 1971. The balance engineer was studio owner Roy Cicala, and Phil Spector was the producer. Spector, of course, had previously recorded the classic 1963 album A Christmas Gift For You.

The backing track was recorded in seven takes, with take six selected as the best. Takes 2, 3, and 4 were incomplete, and take 5 was a false start.

John Lennon had wanted Klaus Voormann to play bass guitar on the recording, but his flight from Germany to New York was delayed. The bass part was initially recorded by one of the guitarists recruited for the session, but was later replaced.

The 16-track master tape had Hugh McCracken’s acoustic guitar on tracks 1 and 2, and Chris Osborne’s on tracks 3 and 4. Other acoustic guitars, played by Lennon, Teddy Irwin, and Stuart Scharf, were recorded to tracks 11, 6, and 12 respectively.

Voormann’s bass guitar was on track 5, and Jim Keltner overdubbed a sleigh bell onto track 13.

Nicky Hopkins’ piano was on track 7, and he also added glockenspiel and chimes to the same track during a reduction mix. More piano by Hopkins was added to track 9, along with vocals by Lennon and Yoko Ono.

Tracks 8 and 10 were used by Spector as echo tracks. The remaining three tracks, 13-14, were used for Jim Keltner’s drums.

On 29 October the single’s b-side, ‘Listen, The Snow Is Falling’, was recorded. The composition, written by Ono in 1968, featured the same musicians as on ‘Happy Xmas (War Is Over)’, minus the acoustic guitarists and children.

On 30 October Voormann recorded his bass guitar part for ‘Happy Xmas (War Is Over)’. That session also saw the recording of strings and the Harlem Community Choir, and the whispered introduction for Lennon and Ono’s children: “Happy Christmas Kyoko”; “Happy Christmas Julian”. The sleeve photography for the single was also taken during this session by Iain Macmillan”.

Prior to round off, this blog post from 2021 argued why Happy Xmas (War Is Over) should have been a number one. Even though Phil Spector criticised John Lennon, as he thought his vocal was weak and he was being outsung by Yoko Ono, the delivery and whole is incredibly effective and incredible. One of the most underrated Christmas songs ever in my view:

“In 1972, it made #4 fair and square, behind the likes of T. Rex and Little Jimmy Osmond. But in 1980, re-released in the wake of Lennon’s death, it also made #4 for Christmas, while the delights of St. Winifred’s School Choir wafted down from top-spot.

Back in those pre-computer days, when everyone at the chart-keeping company was on Christmas holiday, the post-Xmas chart was usually a copy-paste of the previous week’s. St. Winifred’s remained top, John and Yoko at #4. The week after, though, it rose to #2, behind the also re-released ‘Imagine’. I wonder… If the sales of the ‘Happy Xmas’ – which was presumably selling very well in the days leading up to Christmas – were counted, and the chart hadn’t simply been repeated… Could it have been a number one? I guess we’ll never know.

Though it never made #1, ‘Happy Xmas (War Is Over)’ makes the chart every year now thanks to festive streaming. It’s currently perched at #34 in the charts, and will presumably rise even higher next week. With that, I’d like to wish all my readers a very merry Christmas, and a happy new year… Let’s hope it’s a good one… wherever this holiday season finds you. (I’d also like to wish for war to be over, but I think I may be overreaching…)”.

In this feature form November, Time Out ranked Happy Xmas (War Is Over) thirty-second in the list of the best fifty Christmas songs. It is a shame that some see it is a slight or inferior Christmas song: “John Lennon and Yoko Ono’s definitive festive peace-on-earth song is an inescapable feature of every Christmas, transcending  its original anti-Vietnam War purpose to become a one-size-fits-all Christmas banger. Sure, bits of it make you cringe. But that’s all part of the season, eh?”. Ranking it thirty-eighth out of forty, Stylist said this about the underrated song: “Look, I get that this song has a beautiful underlying meaning – but John doesn’t really sound like he hopes I’ll have fun. He seems to be hinting at the fact that I’ve achieved very little over the past 12 months and I need to get my act together if I want to put an end to war. And that’s a lot of pressure, John. All I want to do right now is eat cheese, read terrible cracker jokes, hug my loved ones and forget about the drudgery of reality for a little while. Is that so much to ask?”. I am ending with these quotes form John Lennon and Yoko Ono. Taken from the official John Lennon website, it makes me feel that people needed to show more love for Happy Xmas (War Is Over):

“John: ‘Happy Xmas (War Is Over)’ we wrote together. Nothing more to say on that. It says it: ‘War is over if you want it.’ Because it was still that same message, the idea that somebody is either going to give us power or [has] taken our power or has made us go to war or not made you go to war or the president did this to us.
We are just as responsible as the man who presses the button. It’s that idea of God in the sky is a separate thing, you know? It’s all that separation. It’s all the same thing: nationalities, religions, authority. It’s all the same garbage. As long as we or as long as people imagine that it’s something people are doing to them, they have no control, then. They have no control.

Yoko: It was July 1971 in New York City. We were having our morning coffee in a hotel room facing the park. Then, still in the middle of our breakfast, we got this idea to write an Xmas song. We were fast workers, so the song was born by the time we fi nished our last morning coffee. That made John feel better. ‘This is going to be bigger than “White Christmas”, you’ll see.’ He wiggled his nose again, this time with satisfaction.

In November, John remembered the song and called the manager to release it as a single for Christmas. ‘John, it’s too late…printing the cover…advertising.’ ‘Well, try.’ The single was out, but the manager was right: it was too late for anything and it bombed. ‘Happy Xmas’ only became big after John’s passing in 1980”.

Without doubt one of my favourite Christmas songs, we will be hearing it a lot at the moment. However, given that there is war and genocide in the world, will people understanding the importance of Happy Xmas (War Is Over) and this is what John Lennon and Yoko Ono were talking about. How we need to heed their messages and do something. Fifty-four years after its release, this Christmas masterpiece…

IS as important now as it ever was.

FEATURE: Spotlight: The Pretty Wild

FEATURE:

Spotlight

The Pretty Wild

__________

I am going to come…

to a review of zero.point.genesis. That is the debut album from the amazing The Pretty Wild. The duo is made up of Jyl and Jules Wylde. Originating from Las Vegas, Nevada, The Pretty Wild are known for their Metalcore sound, often described as Y'allternative. Before getting to a review for their album, there are a few interviews that I want to source. The first is from Hard Beat. They chatted with the Wilde sisters about their musical development, and what comes next for them:

“You’ve already brought up ‘Button Eyes’, that’s one of my favourite visuals. Are you thinking about visuals and the music videos while you’re writing?

Jyl: I feel like it’s because Julia comes from this theatrical world, especially like, everything with us, it’s like we don’t just sit down for song, we see a whole landscape with it. We see a whole world we’re building, like from the fashion to, you know, the set that we want to bring so you really get pulled into the space artistically that we’re trying to energetically have when they listen and you know, that that’s kind of hard within a commercial box sometimes. But we find our ways, and I think especially in this next era, you’re going to see a lot more of that world building come to life.

You both sing and scream within the songs, how do you structure the songs and discuss who does what within them?

Jules: Well, that’s a funny question because actually, Jyl taught me how to scream in the studio, actually. And the first time I’m really, truly screaming on a song was for ‘Sleepwalker’. So now when I go back and listen to ‘Sleepwalker’, I’m like “oh my God, I could have done so much better now.” But, it was kind of interesting. And now I think between the two of us, when it comes to harsh vocals, a lot of times it sounds kind of similar, but the way to tell it like a cheat almost is that I tend to scream a lot of the lower parts, and Jyl’s a lot more of this cool high, like gritty, parts of the song.

Jyl: I feel like so much of the artistic messaging is that duality of women holding this rage, but also this sweetness at the same time. So the music definitely had to have both parts. And people are like, you know, it’s really hard to do melodic cleans, and we’re like, “fuck it”, we’ll figure it out, you know what I mean?

You bring up fashion and styling when talking about the music. Does that kind of all coincide with the visuals and what you want to deliver as a package within the femininity?

Jules: Yeah, it’s funny you mention that because we’re going to dive so much deeper into the fashion elements, because art for us goes much deeper than, than just music. Like we have like Jyls kind of talked about this whole ethos and world that we’re building. And a lot of that comes through creative decisions like videos and fashion, and even hair and makeup and what time periods sometimes we’re starting to channel, and whether there’s baroque elements, and songs or some more classical elements mixed with nu metal, which is kind of a funny juxtaposition.

Jyl: Even the gymnastics tricking stuff that I do. That’s art. I don’t go to the gym normal! Finding a cool way that really takes these authentic elements that you and I both have and like creating that bigger message together, is something you’re definitely going to see with this album.

And just in these upcoming live shows, we’re just really, really excited for it all to come together and have that message hit right.

I did a deep dive on your previous singles and what you’ve released in the last couple years. You’ve developed a lot musically. You experimented with country before diving into metalcore!

Jyl: We did. In a really short space of time! I think it really does come back to, you are only allowed to be so many things as a woman like, straight up, and growing up, you’re trying to find your place.

We were doing really creepy country at first. Most people don’t know. And then we got interested in the industry and then it got super watered down and at the end of the day, when we started working with Andrew, we just started peeling back those layers, song by song. And like that’s kind of where it just emerged, like it really came from layer peeling, the conditioning
undoing the conditioning, you know? I feel like you can tell, you can feel the comfortability in what we’re doing and how we’re here.

And you can’t you can’t fake that process. It’s just like there weren’t a lot of role models for that personally I found when I was younger. So that’s why it’s so fucking crazy.

Where do you foresee The Pretty Wild going? This year’s been massive growth with your debut album. Next year, what are you thinking?

Jyl: Crank up the chaos, baby.

Believe it or not, we held back. In a lot of ways, we did. I think you hold back because you’re not confident yet. You know what I mean? So I think when you have real confidence and you’re ready to commit to these things, I think you’re going to see a whole new level of execution with what we’re doing. And I’m really excited.

Jules: We always tell people expect the unexpected. We are constantly, just seems like, creative machines, we have these outputs of enthusiasm and energy and ideas, and like that never turns off for us.

So we’re just we’re excited to really show everybody what’s in our brains and how we can actually make that come to life and illustrate this whole world that we have fallen in love with, and be able to portray that to everybody.

Jyl: And honestly, really help inspire others, especially females in general. Thinking differently can work and valuing their emotions, and realizing their emotions are where they have a lot of power, a lot of creative power. That’s really important for us.

And showing that and demonstrating that and making that a reality”.

I am going to move to great intervbiew from New Noise Magazine. The Pretty Wild have had a busy year. 2026 will see them touring and taking their music to audiences far and wide. I think that zero.point.genesis is among the best albums of the year. It is great that they are coming to the U.K. in February. Playing the O2 Forum Kentish Town on 12th February (among other dates in the U.K.), I might try and catch them. A sensational live act, go and see them if you can:

“Following the release of their inaugural LP, The Pretty Wild don’t plan on hitting the brakes any time soon, as next year will find the sisters hitting the road to support Sleep Theory on a 2026 European tour throughout February and March. And after making their festival debuts at Welcome To Rockville and Inkcarceration this year, 2026 will also find The Pretty Wild tearing up the stages at Sonic Temple, Download, and Vainstream Rockfest.

“I feel like those are going to be some of the first shows that we really unveil what we’ve been working really hard on for the live show stuff,” Jyl says of their upcoming shows with Sleep Theory. “And a lot of that’s still a secret. So we just can’t wait. That’s going to be where everything kind of comes together.”

The duo’s upcoming shows with Sleep Theory will find them performing their debut studio album in its entirety, and they say the reality of such a monumental release still hasn’t set in just yet.

“I don’t think it’s really going to feel real for me and very visceral until I get to hold a copy of the vinyl – then it might finally start to click,” Jules admits.

Jyl adds, “The album really is a culmination of so many things that, even before we sat down to write it, we were working on and embodying in ourselves. So, to see it become something that’s physical in reality is just going to be unreal.”

Fueled by raw vulnerability and divine energy, zero.point.genesis finds The Pretty Wild conveying a newfound maturity and fearlessness. Through unbridled tracks like “PARADOX” and “hALf aLiVE,” the Wylde sisters embrace both haunting mystery and profound self-reflection.

“This album really is a feminine becoming album in a lot of ways,” Jyl says. “It’s just been this awesome evolution to really see us as sisters become more confident with each other, and have and hold that energy and help other women really feel that as well and leave behind toxic feminine ways and really embrace collaborative energy and seeing how we’re just more powerful when we combine our efforts together.”

Regarding the sound of the new record, Jules says, “I think also we grew and pushed ourselves in different ways creatively, and we both were really supportive of that. We tried different things. We tried to go to different places. Not only with instrumentation, but also just vocal parts, and the maturity of the writing and the depth of the writing.”

The album is as authentic a body of work as it is personal, with Jyl and Jules describing the record as a culmination of everything they’ve grown to understand about themselves over the last couple of years. While the project is intentionally multi-layered, learning to embrace and explore your femininity is a defining throughline.

While their sound has evolved, the duo’s signature sense of lyrical poetry and gritty storytelling has always remained the same. And while the music industry’s love of experimentation wasn’t as prominent a few years ago as it is today, Jules says their move away from the y’allternative scene all worked in their favor after leaving their label at the time.

“We were able to get creatively weird with it,” she says. “And then it just started progressing into what it was and is now, which is that heavier tone, which has always been an interest of mine. I’ve always been a big metalhead from the time I was pretty young, whereas Jyl comes from more of a dark, girly, pop realm. That’s why you’ll notice a lot of our songs have these heavy breakdowns and these classical moments, but also these poppy choruses that pull in those dark concepts. It made us who we are today, as hokey as that sounds.”

Now, The Pretty Wild possess an undying musical ethos that strives for unconventionality and going against the grain of society. Unafraid to break the rules —or break down genre barriers, for that matter—Jyl and Jules say it’s their ability to look within that sets them apart from the rest of the metal scene.

“You have to have somewhat of a finger on the pulse of what’s going on,” Jules says. “But for the most part, when we come up with concepts or ideas, or we go to cut music, everything else is kind of external, and we don’t really think about it. Being in the studio is a very private spot where it’s obviously soundproofed, and you don’t think about other people. So you just create what you want to create, and then you’re really proud of it. Then of course you want to show it off, but you really make it for yourself, first and foremost.”

Jyl adds, “You can pay attention to the rules, but then ultimately, we always go by how we feel. Learn the rules. But then if you feel like that’s not what you should do, or you need to mix it up, then let that feeling lead you.”

Ultimately, The Pretty Wild embrace just what their name represents—beauty and anger, light and darkness, intention and fearlessness. Through their first full-length musical effort, the sister duo trusts the unknown, and they encourage listeners to do the same.

“You should listen to your instincts, especially as a female, and embrace your emotions. Because that’s your superpower,” Jyl says. “And I think ultimately this album has been a reclamation of all of those things, and not being afraid to express your emotions. You can be beautiful and rageful in the same sentence, and there’s nothing wrong with that. That’s healthy.”

The final interview that I want to come to is from v13. They spoke with a duo who were “Raised on theatre, classical music, and a shared fascination with performance”. I am quite new to The Pretty Wild, though it has been fascinating researching them and learning more about their incredible debut album. Go and make sure that you follow them. I think that we will be hearing a lot more from The Pretty Wild in years to come:

“Going back to what you said about the creative differences being the source of your arguments, how quickly did you agree on the vision of how The Pretty Wild should sound?

Jules: “It’s always been very fused. There’s never been a time I think we thought this is too heavy or this isn’t heavy enough. It was really organic and agreed upon. I don’t think there was ever a time when we butt heads on that. Organically, Jyl’s more interested in like hyper pop and these pop elements, and I tend to come from more of the metalcore, heavier side of things. It really is this natural organic fusion. We love the juxtaposition of that from like horses to breakdowns.”

Jyl: “We’ve always been in agreement with classical music. Classical music is our home base, so we had to have that in there. That was a given. I love dark pop. I love dark pop melodies. I love dark pop structure. For me, alt dark pop is totally my vibe, and then Julia definitely is rooted in more of that metal scene. Everything just worked.”

In terms of bands or other artists, you share those ethos with, who were your inspirations?

Jyl: “I love Jack White in general. The Civil Wars were always a big influence for us. Sonically, they just really bring you in with minimal instrumentation. They suck you in. Their energy has a special quality to it that can do that. That’s definitely an inspiration. I listen to everything. I listen to a lot of rap to metal to, Julia was saying hyper-pop to EDM.”

Jules: “An obvious mainstream to point to is that Linkin Park aesthetic with nu metal, where they truly fused different genres and were pioneers of that alongside a few other bands crafting that nu-metalcore scene. Like Jyl said, we’re such an amalgamation of so many different bands and artists for different reasons that it’s hard to really just isolate it.”

You’ve described the album as an album of collapse and resurrection. Where did those themes manifest from, and do you see it as a concept album?

Jyl: “Totally. It’s a total concept album. A lot of it comes from a lot of systematic programming, social programming, and undoing. Realising you don’t realise when you’re programmed just how much was making you sick or miserable because that becomes your normal, you don’t realise until you start to realise, that wasn’t healthy, that wasn’t for me, until you get pulled out of it. There’s a part of it when you come out of it that you have this grief for that old version of you, and a lot of the album explores that. Especially your power as a woman, that’s not really something where, in my opinion, there weren’t a lot of role models for what that looks like, keeping your feminine essence intact.”

Jules: “A lot of it comes from this slightly more archaic but timeless space in literature. There are a lot of tragedies that we will touch on in a lot of the songs, or Greek or Roman mythology. Just these cool, timeless things that have been impactful for us. When it comes to actual concept albums, you mentioned Bring Me The Horizon, that’s an incredible album, Next Gen. We’re big fans of that album, and I think that, when people can take you into this world and suck you in and you feel like you’re there for 12, 14, 15 tracks, it’s really admirable. Our record comes from a few different places of inspiration.”

Just to wrap up, then could you talk us through what the album means overall and to you both as individuals?

Jules: “It’s almost like a big bang moment of this genesis of this intangible thing, essentially that is just coming into the ethos, and it’s the compulsive explosion of creativity that is happening. It’s a whole journey from start to finish, and there are a lot of different places that the album takes you. It’s chaotic and messy, but it is the genesis of the band.

The whole album is about reclaiming the parts of you that you were told to cut off yourself from. That’s why it’s so messy and raw and like screamy, but pretty at the same time, because there’s beauty once you do integrate those things again. I think a lot of people see the darkness and they’re scared of it, but for us, we run headfirst into the darkness because then you don’t become afraid of those things anymore. They lose control over you, and I think that it’s that birthing point of life and a new perceptual lens of operating and carrying yourself into the world”.

I am going to end with a review form Kerrang!. They heralded a sister dup from Las Vegas who need to be heard and seen. Even though they spin a lot of sounds and music directions, it all comes together in this cohesive debut album. In a year that has seen some impressive debut albums, zero.point.genesis definitely stands out. I would urge everyone to hear it. It will leave an impression on you, for sure:

“The Pretty Wild have taken a piece of Halloween into a time of year that’s progressively looking like Christmas. The Las Vegas sisters dance the line between icy dystopia and dark fantasy on this debut, spinning their personal agonies into something otherworldly yet with depth. It gives their own brand of shapeshifting heaviness a touch of theatricality, but in no way do they do style over substance either. In fact, when they want, they can sound all the right kinds of monstrous.

The savagery leaps out first. ‘Tear off my skin, rip it off,’ is a suitably brutal line to open with on first track Paradox, whose hulking riffs and growled raps are sweetened by its big chorus. The title-track channels a cold, digital energy with flourishes of violin for an eerie feel, while Living Ded is a stomping floor-filler made for dancing the dread away. Later, the bludgeoning Priestess strips it all back and hits straight for the jugular with the sort of chainsaw riffs that may have you thinking they’ve been studying Spiritbox’s playbook cover-to-cover. (They’re learning well.)

Even then, as strong as these tracks are, the best is still yet to come. The Trial is a majestic centrepiece revolving around the revenge of – as the title suggests – a witch put on trial, cutting between elegant melodies and lacerating screams. It’s followed by h ALF a LIVE, an almost nu-gaze inflected ballad that gracefully launches into a beautiful chorus while still retaining its grit. There’s a lot that they juggle, yet without over-stretching themselves or sounding scattered.

Even for a debut, The Pretty Wild know exactly who they are, delicately weaving their personality through their ideas to level them up into something that sounds fresh rather than contrived. Don’t underestimate these girls – and if you’re at Download next year, you might want to make space in your itinerary for them.

Verdict: 4/5”.

I am going to leave things here. Go and check out The Pretty Wild. It will be an exciting time seeing them come to the U.K. and how they are received. Going forward, I am sure Jyl and Jules Wylde have plans for more new music and stuff is coming together. I am curious as to what form that takes and when we might get examples of what their second studio album has to offer. In the meantime, we should embrace this extraordinary debut album from a dup who…

NEED to be on your radar.

__________

Follow The Pretty Wild

Official:

https://www.wearetheprettywild.com/

Instagram:

https://www.instagram.com/wearetheprettywild

TikTok:

https://www.tiktok.com/@wearetheprettywild

YouTube:

https://www.youtube.com/@wearetheprettywild

Facebook:

https://www.facebook.com/wearetheprettywild/

Spotify:

https://open.spotify.com/artist/4DJ2QHcDJiDC0Kx1xZ9oNm?si=O73WFKA7TTqm503IH58mjg

FEATURE: Spotlight: Jae Stephens

FEATURE:

 

 

Spotlight

Jae Stephens

__________

A few incredible…

dates in December complete the last touring commitments of the year for Jae Stephens. Unless she has any surprise gigs coming up! Also, before that, she plays The Lower Third here in London on 24th November, if you can grab a ticket! I wanted to shine a light on the amazing Texas-born artist. It is a shame I will miss her in five days! However, I am sure she will be back here in 2026 (in fact, she will be playing a few songs outside of the O2 tomorrow, if you are in the area. I hope she has a big coat with her!). Jae Stephens’ E.P., SELLOUT II, was released in August. That was followed by an album, TOTAL SELLOUT, on 14th November. It is a remarkable chapter from an artist that everyone should know about. Before doing anything else, it is important we get to know a little more about the extraordinary Jae Stephens. I want to start out with a fascinating interview from CLASH from August. They spent time with someone who an artist with a long career ahead. “The Def Jam nu-gen RnB artist” talked about “intention, duality, and Victorian child summers”. It is a compelling and illuminating interview. I want to source a section where we discover how and why writing gave Jae Stephens a sense of purpose:

“Born in Texas, Stephens has only a handful of lucid memories of the state — Schlotzsky’s sandwiches and Pappadeaux seafood among them — before her family moved to California when she was six. In Pasadena, she grew up steeped in an entertainment-adjacent lifestyle, taking dance, voice and acting lessons as if by rite of passage. “I went to a performing arts high school. It was very much giving Glee — leaving school early to go to auditions. It was just what people did,” she says.

But even amid all the lessons and auditions, she eventually paused to ask herself: What am I doing with this? How do I want to spend my time? “I was doing all of these things, and I was good at them, but it lacked intention and purposeful impact.”

Writing gave her that sense of purpose. Long before she was known as an artist, Stephens was writing songs, short stories and screenplays, a discipline that carried her into songwriting success with Latto, Jennifer Lopez, and UMI. But the more she looked at the artists she was writing for, the more she realised the mirror was pointing back at her. “I realised I have all of these skills and all these years of experience… I’m already doing it. So why don’t I just do it ten times harder… and for myself?”

That’s when the ‘SELLOUT’ era began. After signing to a major label, Stephens felt she owed it to herself to put her best foot forward. “I wanted to keep it light-hearted, sexy, cool and fun, while not losing myself either,” she shares. “It was me dipping my toes in and seeing what I could get away with while working with a new team.”

Two more interviews after the next before closing things up. I am keen to highlight a section of an interview from May from RANGE, after Stephens released the intoxicating and beautiful That’s My Baby. The stunning U.S. artist spoke about the future, and her experience of touring with FLO. There are few artists out there who has the same sound as Jae Stephens. It is clear to see that she has the talent and potential to go so far in music. Maybe these are the earliest days. They are far from the best. The next few years will see her ascend to dizzying heights:

“Her brand new single, “That’s My Baby,” the second single from her forthcoming EP, is one of her silkiest yet. Road-tested on crowds night after night before its official drop, the track became less of a premiere than a quiet claiming of space, its intimacy amplified in rooms full of strangers. “Performing it every night has just made me more excited about releasing it.  I’ve always had dreams about people singing my music and I feel like that’s the one that people sing the most, besides ‘Body Favors,’” she confides, continuing that “every other song on the project is pretty poppy, so I wanted to spotlight [“That’s My Baby”] and give it the moment that I think it deserves.” It’s this strategy that makes an artist like Stephens so compelling: “I want to remind everyone that I’m not a one trick pony here,” she starts. “I’m capable of so many sonics and genres, and I want to express that.”

Stephens’ most recent EP, SELLOUT, marked a major breakthrough—both commercially and creatively. The six-track project signaled a departure from the glossy R&B sound that had defined her earlier work, embracing a more expansive pop sensibility. With influences from ’90s pop, a la Mariah, and early-2000s The Neptunes and Timbaland production, SELLOUT propelled Stephens into a realm of cult-like admiration on social media, largely due to the utterly entrancing single, “Body Favors.” “SELLOUT was my major label debut, and it was sort of me like… ‘I kind of want to try something a bit more pop,’” she reveals. “Now I’m like, bitch… I’m doing it. I am the queen of pop,” she teases. Though clearly joking, I can’t help but reply, “Girl, you will be.”

 

This newfound confidence isn’t just playful banter; it reflects a clear shift in Stephens’ artistic trajectory. “The new EP is definitely more confident, more self-assured, sexier, more intentional,” she promises, detailing that “There was a lot less writing to send to other people. It’s truly just my voice throughout, and I think that you’re going to be able to hear that sonically, melodically, and lyrically.” Despite the deliberate distance she keeps between her day-to-day self and the capital-P Popstar version of Jae Stephens, the lines still blur—especially when vulnerability becomes the hook. “I think a lot of it is playing a character, but then it somehow ends up being true. Even if I think I’m being playful and bullshitting, it always ends up coming from a real place.”

Stephens has only scratched the surface of what 2025 has in store—but the foundation is already shifting beneath her feet. “As soon as I get home I have sessions to finish the next project, and then I have to shoot a video, and hopefully we’re gonna do some more shows before the year wraps to celebrate,” she says. I eagerly take this moment to campaign for her return to Vancouver. “You better tell the crowd to be hype tomorrow,” she requests in response. Fast forward, 24 hours later, @jaephens posts a selfie on her Instagram story, with a caption reading: “Vancouver that was the best crowd so far im not even kidding lol.” My job here is done”.

There is more that I want to cover off. Bringing things a bit more up to date. I will move to Yams Magazine. They championed an artist not fitting into boxes and who is redefining Pop and R&B. This future star whose incredible music is among the very best around. I am very keen to see Jae Stephens live, as I can imagine she is a phenomenal performer that has this real and raw connection with the audience:

“Now, with ‘SELLOUT II’, out today, Stephens has doubled down on her own instincts. “I felt really comfortable with that world I was creating, but some of the songs on the first project were written for others. This time, I went in writing all of the songs just for me.” For Stephens, the emphasis was on ease and flow. “If I’m struggling with a line or melody for too long, I know it means we gotta wrap it up and move on. Nothing is overthought. For me, I know when to stop and move on, and I appreciate that about my own music.”

Transitioning from songwriter to fully-fledged artist has meant an entirely different workload. “As a songwriter, your job is over when you leave the studio with a complete song. As an artist, it feels like that’s when you’re just getting started; listening back twenty times, realising it needs this or that, then thinking about visuals, then getting buy-in from the team. It’s exhausting,” she admits with a laugh. “It really is ten times the work I committed myself to”.

“Now, with the late-August release of her second EP in the SELLOUT series, her recently released single “Boyfriend Forever”, and The Sellout Podcast, Stephens has captured more and more listeners’ attention as an artist staking her claim in her identity.

PHOTO CREDIT: Randija Simmons

Even when speaking with Stephens, you can sense the excitement and joy emanating from her energy during the interview. As she put it, “this moment feels like the culmination of a lot of hard work, which I’m really excited about”.

Stephens, who calls herself the “sexy comedic relief”, has her artistry dating back to viral social media days almost 10 years ago on Tumblr as “beyoncebeytwice”. This era, marked by song covers and her extensive love of Beyoncé, catapulted her to over 200,000 followers on the platform.

The name even speaks to her musical influences, as she was “raised by Beyoncé”. Some of her other musical influences, such as Brandy, Janet Jackson, and Mariah Carey, are evident throughout her music, as seen in her 2019 solo-produced and written EP, F**k It I’ll Do It Myself. The use of layering, harmonies, writing, and arranging all harken back to the late 1990s to early 2000s hits of Darkchild and the Neptunes, with a more modern feel.

Beyond her own work, she has collaborated with artists such as THEY., VanJess, Khamari, and Xavier Omar, and has written for Jennifer Lopez, Normani, and Sinead Harnett. These collaborations only speak to the quality of the material (in the words of Tiffany “New York” Pollard) and the development of Stephens’s sound and musicality.

This sound, along with a further exploration of Stephens’s artistry, can be felt within her SELLOUT EP series. Blending the worlds of early 2000s pop stardom, R&B-infused sounds, and quotable catchy lyrics, SELLOUT from 2024 and the newly released SELLOUT II show her pulling out all the stops in her rising musical journey.

The EP series name emerged as a way for her to anticipate and address online critiques of her evolving sound after signing with Def Jam and Raedio in 2024, as well as to establish a new identity and persona within the music space.

“I wanted to play this part of this big pop star sellout, and I know the best way was to put on a face a little bit and get ahead of the jokes. It really helped me step into that light and build that world. What was acting a bit in the beginning has become really real to me, and I’m very comfortable and I’m very proud of it now.”

SELLOUT II evokes the feeling of being in a club under blue lights, reminiscent of an early 2000s music video. Thrusting pop blaring from the speakers on songs like “Afterbody” and “SMH”, to slow jam material with “Kiss It” and “That’s My Baby”, the EP is reminiscent of albums like Brandy’s Full Moon and Janet Jackson’s All for You with that heavy pop influence mixed with sounds of R&B and dance.

Obviously, the EP struck a chord with listeners, garnering over 3 million Spotify streams, countless viral video replies under tweets on X, and even an “Afterbody” feature on the most recent season of Love Island Games.

Jae’s newest release, “Boyfriend Forever”, extends the Sellout multiverse into a ‘90s new jack swing sound.

When talking about how “Boyfriend Forever” came about, she said, “It started with me and the producer Dallas, that week he was really obsessed with SWV and I was like, yeah, I want something like that that feels almost kind of innocent and carefree and like you’re flying a little bit.”

The song, which soars through from beginning to end like a classic New Edition, Bobby Brown, or aforementioned SWV song, feels like a blast from the past that still aligns itself within the world Stephens continues to create with the Sellout name.

Through all of her releases, her fans, affectionately known as the JaeBaes, fiercely support her on social media. From finding random tweets to quote-tweeting with the “Afterbody” music video, to having inside jokes within the fandom, her online presence, alongside her music, still rings strong to this day.

This connection fuels both her online presence and the avid fan support she garners online. Not only does she demonstrate how her music resonates with her audience, but also how she connects with them herself.

Looking forward, Stephens is currently hosting her Sellout podcast, which serves as a platform for her to speak and connect with other emerging Black talent in the entertainment world, such as MNEK, Alemeda, and Aliyah’s Interlude. Towards the tail-end of this year, she has shows in London, New York, and Los Angeles, as well as a potential SELLOUT II Deluxe on the horizon”.

PHOTO CREDIT: Bradley Meinz for NME

NME featured Jae Stephens on The Cover this month ahead of her upcoming appearance in London. This amazing songwriter has written for other artists and collaborated a bit, but she is now stepping firmly out on her own and  “refocusing her lens on herself in pursuit of playful pop that is sweet yet spicy”. If you do not already know Jae Stephens, then do make sure that you go and follow her now. I was not aware that Stephens lived in London and fell for this country:

“London is where I became a woman,” says Stephens, who upped sticks from her balmy Californian home to the grey skies of Blighty straight out of high school, aged 18. “I was obsessed with it by way of One Direction, I’m not gonna lie to you,” says Stephens, whose fandom fixation garnered her a Tumblr-famous following of over 200,000, for whom she would also post cover songs. “From there, it snowballed into wanting to understand a whole other culture [and] music scene. I just think it was really meant to be.”

It didn’t take long for her to fall in love with British dry wit and offbeat fashion, and the chaos of the Tube, while she also met her management and participated in her first-ever songwriting sessions in the city. “It definitely felt like my coming-of-age movie,” the 27-year-old says of the two years she lived in the UK. “Then I started dating a British guy, and I was living my Wattpad dream!”

Even after moving back to LA, Stephens would return to the UK each year to hone her songwriting chops, writing for herself and others including Bryant Barnes, Sharylen, and Khamari. It wasn’t long before she found herself in the studio with superstar songwriter MNEK, whom she’d first heard on BBC Radio 1 during late-night essay-writing stints. Starstruck, it was one of the first times she felt out of her depth as a young artist in the studio.

Despite being an artist who writes with her tongue in her cheek, Stephens is well aware that Black female artists are subject to a different kind of scrutiny than their white peers when it comes to being sexy. It’s part of the reason why she prefers to lean into humour with her own music, without being too crude. “Black women are so overly sexualised from such a young age, I think that there should be a space for us, especially in music, to be seen as sexy or sexual without it being so brash. I was allowed to listen to songs like ‘Rock The Boat’ by Aaliyah as a young girl, but growing up, I was like, ‘What’s this girl singing about?’ I think that makes for better songwriting when you let people guess a little bit.”

Stephens sees the success of “late bloomer” pop artists like Charli XCX, Sabrina Carpenter, and Chappell Roan, who are finally getting their flowers, and wants to be in the mix. “I want to be, hashtag, main pop girl,” she says. “I really want now to see some Black girls be a part of that conversation, not only in pop, in every genre.” It’s part of the reason she started the Sellout Podcast, which has seen her celebrate Black talent and interview MNEK, Master Peace and Aliyah’s Interlude. “I want us to see that kind of widespread success.”

Now, with ‘Total Sellout’ complete, Stephens is looking to the future where she is more self-actualised, more confident, and more free as an artist. “We’re going to try more balls to the wall, and it’s going to be fun, fresh, free – whatever I want. I don’t have to hide behind anything, and I don’t have to follow anyone else’s rules or guidelines. It’s gonna be major”.

I was going to end there, though I want to drop in Shatter the Standards and some of their review for SELLOUT II. They salute an artist matching personality and polish. An authentic talent released this compelling, complete and cohesive statement:

“It’s not all sugar and no substance. Stephens marries the frothy pop moments with genuine technical skill and musical sophistication. She’s a self-professed “control freak” in the studio who often spends more time on intricate vocal arrangements and layering than on writing the initial lyrics, and it shows. Throughout the EP, her vocals are stacked in lush harmonies, call-and-response ad-libs, and cleverly arranged background parts that add depth beneath the glossy surface. Nowhere is her technical prowess more evident than on “SMH,” the EP’s energetic centerpiece. On this track, a slinky R&B banger that finds Stephens flexing over a knocking beat, she makes an audacious choice: in the bridge, she executes multiple unexpected key changes in rapid succession—effectively a series of hidden modulations that take the listener by surprise. The effect is thrilling and elevates the song’s final act; as Stephens herself put it, she “wanted the bridge to give a bit of musicality…turn it on its head. I was like, ‘What if we change keys like three times?’ Yes.”

Sellout II moves like a compact character study in two acts, front-half flirt and motion, back-half boundary-setting and self-possession, held together by Jae Stephens’s ear for clean hooks, stacked harmonies, and quick, classy lifts in the bridges. “Afterbody” is pure club confidence—“Body after body… I’m the one he want out of everybody”—but notice how she refuses the arms-race flex and centers presence over spectacle, the chorus tightening each time like a camera zoom. The back stretch does the framing work, starting with “Choosy” that turns pickiness into policy (“Don’t get emotional… I’m too pick-and-choosy, they’re losers”) over a beat that moves briskly enough to dodge self-righteousness, and it’s where her songwriter discipline shows in the ruthless edit of each line and the no-waste pre-chorus. “10/10” closes as self-appraisal and runway strut—“Tyra, top model chick, attitude, ten out of ten… Don’t gotta talk, I walk that shit”—with a gliding hook that sells the boast because the vocal stacks keep softening its edges.

Even as an EP, Sellout II succeeds in showcasing the duality at the core of Stephens’ artistry. On one hand, these songs are immaculately produced, hook-heavy, and pop-star ready—the kind of tracks that sparkle under club lights or in a summer playlist. On the other hand, there’s an intimacy and realness beneath the sheen, rooted in her perspective as a young woman navigating love and self-worth on her own terms. Rather than feeling at odds, those two sides enhance each other. The meticulous polish makes the personal moments hit even harder, and her personal stamp prevents the shiny pop from ever feeling anonymous. After repeated listens, we now have a much clearer picture of who Jae Stephens is. A bold, bilingual (musically speaking) artist fluent in both the language of mainstream pop fun and the dialect of soulful R&B honesty. If Sellout II is any indication, she’s effectively bridged the gap between depth and dance-floor, inviting us to enjoy ourselves and get to know her at the same time”.

I will leave it here. Some artists shine for a bit and fade, and others never really get the attention they deserve. When it comes to Jae Stephens, she is going to be a massive success! Her music, incredible talent and personality, together with her passion and intelligence, will ensure she is a modern legend. There really is…

NOTHING that will stop that!

____________

Follow Jae Stephens

Official:

https://www.jaephens.com/

Instagram:

https://www.instagram.com/jaephens/

Twitter:

https://x.com/jaephens

TikTok:

https://www.tiktok.com/@jaephens

YouTube:

https://www.youtube.com/channel/UCEY2jujYe5rJlFCdSuZemZA

Spotify:

https://open.spotify.com/artist/4HiLipaDjOwRkhJlk5s1uT?si=8FMEMAnmSkeG3eCwREoqdA

Facebook:

https://www.facebook.com/jaestephensmusic/

FEATURE: On the Other Side from You: Kate Bush’s Wuthering Heights at Forty-Eight

FEATURE:

 

 

On the Other Side from You

IN THIS PHOTO: Kate Bush in 1978/PHOTO CREDIT: Gered Mankowitz

Kate Bush’s Wuthering Heights at Forty-Eight

__________

THERE is a lot of excitement…

and anticipation around the release of Emerald Fennell’s upcoming film, Wuthering Heights. Starring Margot Robbie and Jacob Elordi, it is going to be interesting to see what she does with Emily Brontë’s sole novel. Kate Bush released her incredible debut single, Wuthering Heights, on 20th January, 1978. There are parallels between Emily Brontë and Kate Bush. They were born on 30th July. Bush in 1985; Brontë in 1818. Kate Bush’s full first name is Catherine. Catherine Earnshaw is the heroine of Wuthering Heights. In Wuthering Heights, Bush sings in the chorus: “Heathcliff, it’s me–Cathy/Come home. I’m so cold!”. Almost this autobiographical edge. A teenage Kate Bush imagining herself to be the Cathy of the song. I am going to write more deeply about Bush’s debut single before trying to manifest this viral moment. Let’s get to some background regarding the song (courtesy of the Kate Bush Encyclopedia), in addition to some words from Kate Bush about one of the most important debut singles ever:

“The song was recorded with Andrew Powell producing. According to him, the vocal performance was done in one take, “a complete perfomance” with no overdubs. “There was no compiling,” engineer Kelly said. “We started the mix at around midnight and Kate was there the whole time, encouraging us… we got on with the job and finished at about five or six that morning.” The guitar solo that fades away with the track in the outro was recorded by Edinburgh musician Ian Bairnson, a session guitarist.

Originally, record company EMI’s Bob Mercer had chosen another track, James And The Cold Gun as the lead single, but Kate Bush was determined that ‘Wuthering Heights’ would be her first release.  She won out eventually in a surprising show of determination for a young musician against a major record company, and this would not be the only time she took a stand against them to control her career.

The release date for the single was initially scheduled to be 4 November 1977. However, Bush was unhappy with the picture being used for the single’s cover and insisted it be replaced. Some copies of the single had already been sent out to radio stations, but EMI relented and put back the single’s launch until the New Year. Ultimately, this proved to be a wise choice, as the earlier release would have had to compete with Wings’ latest release, ‘Mull of Kintyre’, which became the biggest-selling single in UK history up to this point in December 1977.

‘Wuthering Heights’ was finally released on 20 January 1978, was immediately playlisted by Capital Radio and entered their chart at no. 39 on 27 January. It crept into the national Top 50 in week ending 11 February at No.42. The following week it rose to No.27 and Bush made her first appearance on Top of the Pops (“It was like watching myself die”, recalls Bush), The song was finally added to Radio One’s playlist the following week and became one of the most played records on radio. When the song reached number 1, it was the first UK number 1 written and performed by a female artist”.

“When I first read Wuthering Heights I thought the story was so strong. This young girl in an era when the female role was so inferior and she was coming out with this passionate, heavy stuff. Great subject matter for a song.

I loved writing it. It was a real challenge to precis the whole mood of a book into such a short piece of prose. Also when I was a child I was always called Cathy not Kate and I just found myself able to relate to her as a character. It’s so important to put yourself in the role of the person in a song. There’s no half measures. When I sing that song I am Cathy.

(Her face collapses back into smiles.) Gosh I sound so intense. Wuthering Heights is so important to me. It had to be the single. To me it was the only one. I had to fight off a few other people’s opinions but in the end they agreed with me. I was amazed at the response though, truly overwhelmed.

Kate’s Fairy Tale, Record Mirror (UK), FeBRUARY 1978

IN THIS PHOTO: Kate Bush in 1978/PHOTO CREDIT: Gered Mankowitz

I wrote in my flat, sitting at the upright piano one night in March at about midnight. There was a full moon and the curtains were open, and every time I looked up for ideas, I looked at the moon. Actually, it came quite easily. I couldn’t seem to get out of the chorus – it had a really circular feel to it, which is why it repeats. I had originally written something more complicated, but I couldn’t link it up, so I kept the first bit and repeated it. I was really pleased, because it was the first song I had written for a while, as I’d been busy rehearsing with the KT Band.

I felt a particular want to write it, and had wanted to write it for quite a while. I remember my brother John talking about the story, but I couldn’t relate to it enough. So I borrowed the book and read a few pages, picking out a few lines. So I actually wrote the song before I had read the book right through. The name Cathy helped, and made it easier to project my own feelings of want for someone so much that you hate them. I could understand how Cathy felt.

It’s funny, but I heard a radio programme about a woman who was writing a book in Old English, and she found she was using words she didn’t know, but when she looked them up she found they were correct. A similar thing happened with ‘Wuthering Heights’: I put lines in the song that I found in the book when I read it later.

I’ve never been to Wuthering Heights, the place, though I would like to, and someone sent me a photo of where it’s supposed to be.

One thing that really pleases me is the amount of positive feedback I’ve had from the song, though I’ve heard that the Bronte Society think it’s a disgrace. A lot of people have read the book because of the song and liked it, which I think is the best thing about it for me. I didn’t know the book would be on the GCE syllabus in the year I had the hit, but lots of people have written to say how the song helped them. I’m really happy about that.

There are a couple of synchronicities involved with the song. When Emily Bronte wrote the book she was in the terminal stages of consumption, and I had a bad cold when I wrote the song. Also, when I was in Canada I found out that Lindsay Kemp, my dance teacher, was in town, only ten minutes away by car, so I went to see him. When I came back I had this urge to switch on the TV – it was about one in the morning – because I knew the film of Wuthering Heights would be on. I tuned in to a thirties gangster film, then flicked through the channels, playing channel roulette, until I found it. I came in at the moment Cathy was dying, so that’s all I saw of the film. It was an amazing coincidence.

Kate Bush Club Newsletter, January 1979”.

I started out by mentioning the Emerald Fennell film, as I did think that Kate Bush’s Wuthering Heights would be included. I do think that the film will draw attention to Bush’s 1978 single. It is from her 1978 album, The Kick Inside. Perhaps more importantly, new people will read Emily Brontë’s novel. It is a masterpiece. There are a couple of mysteries around Wuthering Heights that intrigue me. One relates to the exact source of inspiration. I have seen some say Bush was watching a 1970 film with Timothy Dalton as Heathcliff. I think that it was actually a 1967 T.V. adaptation with Ian McShane as Heathcliff. The late great Angela Scoular as Catherine Earnshaw. I am not sure whether Kate Bush would remember if it was the 1970 or 1967 adaptation that she saw, though I do think it was the 1967 series. The final ten or fifteen minutes, where we get this very powerful moment of the ghostly Cathy reaching through the window and trying to grab Heathcliff. I think she actually lunges for Joseph. Another mystery surround the versions of the video. Two were shot and released. One where Bush is in a white dress in a studio. The second is her in a red dress where she dances on Salisbury Plain. Many did not know when the red dress version was shot. Debate as to which was shot first and what was released first. I am going to get to an article from Kate Bush News. First, the Kate Bush Encyclopedia provide some timeline clarification:

“In the first verison, directed by Keef, Kate can be seen performing the song in a dark room filled with white mist while wearing a white dress. According to Kate: “the video we made for ‘Wuthering Heights’ was probably amongst the first ever made, certainly here in this country in terms of a video, and I was very influenced at that time still by Lindsay Kemp. So it was very much the dance influence that I was expressing. So it was really working out choreography that would just look interesting, that would kind of create a persona of Cathy. “ (VH-1 interview, January 1990)

The second version, directed by Nicholas Abson, sees Kate dancing on Salisbury Plain while wearing a red dress. It was filmed before the projected November 1977 release date”.

For decades, nobody quite knew when the red dress version was filmed. The most famous version, it is immortalised by the annual The Most Wuthering Heights Day, where people congregate dressed like Bush in that video and dance to Wuthering Heights en masse. The date the red dress version was filmed was 26th October, 1977. In 2018, cameraman Mike Miles recalled shooting the video and provided some fascinating recollections:

“Kate Bush … ‘Wuthering Heights Promo’ … Salisbury Plain… Wednesday 26th October 1977

From around 1976 to 1982 I worked as a freelance Lighting Cameraman, for Nick Abson’s company, ‘Rockflicks’, making pop promo and concert films with Nick . All the productions we made were shot on 16mm film. (no ‘videos’ in those days). From 3rd October to 5th November 1977, I was working with Nick on the first Stiff Records UK tour .. ‘The Live Stiffs Tour’… featuring Ian Dury and the Blockheads, Elvis Costello and The Attractions, Nick Lowe, Wreckless Eric and Larry Wallis. We were making a Feature length ‘fly on the wall’ film of the tour… ’If It Ain’t Stiff ..It Ain’t Worth a F…’ We travelled around the UK with the band on their coach, driven of course, by Trevor. I won’t elaborate on the antics that we all got up to during the tour, some of which are in the film. Other than to say, that it was the film crew who were thrown out of the infamous Watford Gap ‘Blue Boar’ motorway service station on the M1, for bad behaviour.

During the tour’s progress to the West and Wales we had a free day. To fill the gap, Nick had arranged to shoot a promo while we were travelling to the next Stiff gig. The promo was for an unknown singer called Kate Bush. The track was called ‘Wuthering Heights’. I remember hearing the track for the first time and thinking Kate was a bit squeaky! Because we had to shoot on the way West (the next gig may have been Cardiff, but not sure), Nick had found a grass field with a stand of trees in the middle of Salisbury Plain, which was convenient for continuing our journey after we had finished.

The night before, we stayed in a hotel in Salisbury, where we met Kate Bush and all had dinner together. I also discovered she grew up in Welling, Kent, which was only about 2 miles from where I grew up. It was probably quite daunting for young Kate, her first promo and in a strange hotel surrounded by an admiring bunch of blokes. She sensibly went to bed early and declined our request for her to join us for a drink in the bar.

Early the next morning we met up with a Grips who had driven down from London in an old white van, carrying an Elemack Spyder Dolly and a whole load of curved track. Once we found the location we had to get the van into the field. It was Autumn and had been raining. The entrance was very muddy, the van was very heavy. After a number of attempts to drive into the field, the van became completely stuck in the mud. We couldn’t unload it and carry the dolly to the location, it was too far and weighed half a ton. The only solution was to find a local farmer with a tractor and get the van towed out of the mud and down to the location. About 2 or 3 hours later, we had found a friendly farmer with a tractor. It was a dull grey morning and the field, although covered in grass, appeared as though it had once been ploughed. It was very uneven and also on a slope. We set up the track in a large semi-circle, checked that it was level, which was quite a feat and placed the dolly and camera in position. The sound play-back equipment, for the recording Kate would mime to, was all set up and tested. We were sort of ready to go.

I couldn’t really do much to enhance the look of the film. I did use a soft, light, diffusion filter, but had to be careful because of possible flaring from the sky. I couldn’t put graduated filters on the lens to control the sky, which was dull, but brighter than everything else, because of the trees and the fairly continuous tracking and camera framing. I didn’t have a light powerful enough to light Kate’s face from a distance and there was no sun to reflect light into her eyes. I did manage to use a hand held reflector for some of the close-ups. We also had a small smoke machine. Unfortunately it was quite windy, so the smoke blew quickly past Kate’s face. While we were assembling all the equipment, Kate had come over to me and said that she had been told that the Cameraman was the person to ask about how she looked! She had lovely long hair and had an artificial flower pinned into it. She asked me if I thought it was a good idea and if it looked all right. At the time it looked pretty good, she also seemed to want to keep it in if she could. I said it looked lovely and should keep it in her hair. Nick couldn’t wait any longer and we went straight into the filming with little rehearsal. We were already running out of time because of the delayed start. We had to get to the Stiff gig later that afternoon.

Once we started filming, Kate soon got into her dance routine and had obviously been working on it for some time. We covered the whole number as many times as possible, tracking back and forth, with occasional stops, filming different frame sizes from very wide to extreme close-up. Kate’s dance moves became pretty energetic. The flower in her hair slowly worked loose and started to flop around a bit. Her hair sometimes became caught up in it. By now it was too late to stop, remove it and start everything all over again. We just didn’t have time. I was feeling bad about my advice regarding the flower. Kate was also becoming tired after all the dancing on a ploughed grassy field. It was getting cold. After numerous takes we had to stop and pack up. Considering the early morning start, the long hold up with the van getting stuck, the difficult terrain for dancing and the dull, cold weather; Kate couldn’t have been more helpful, patient and friendly to everyone. I had got used to her voice and decided I liked it. However I wasn’t so sure if it would be a hit, or if she would become popular. Shows how much I knew. The crew accompanied Kate to Salisbury station and just as she was about to board the train back to London, she gave me a lovely hug and a kiss on the cheek. We were all in love with her by now. We then set off for the rest of the Stiff tour.

Mike Miles Director of Photography”.

I want to move to an article from Literary Hub that I have sourced before. In terms of the impact of Wuthering Heights as an educational tool. The song and video from Kate Bush. How it is a modern and more accessible way into this track. I am not sure, given the more adult nature of her version, whether Emerald Fennell’s film will be shown to students. However, the power of the Wuthering Heights videos and Bush’s interpretation of the novel is spellbinding:

“But as Bush borrowed from the dialogue, she made a crucial transposition in the point of view. When she sings, “You had a temper, like my jealousy / too hot too greedy,” the my refers to Cathy and the you to Heathcliff, the novel’s brooding protagonist/antagonist/antihero/villain (depending on your point of view). But the novel itself never inhabits Cathy’s consciousness: she is seen and heard, her rages and threats vividly reported, but everything we know about her comes from either Nelly Dean, a longtime housekeeper for the Earnshaw and Linton families, or through Lockwood, a hapless visitor to the Yorkshire moorlands and the principle first-person narrator of the novel (most of the novel consists of Nelly’s quoted speech to Lockwood, who is eager to hear the complete history of the inhabitants of Wuthering Heights and its neighboring property, Thrushcross Grange). Although the novel spans decades and multiple generations of Earnshaws and Lintons, Kate Bush’s shift into Cathy’s point of view centers the song entirely on Cathy and Heathcliff—which is fittingly how Cathy, in the novel, views the world. She and Heathcliff share one soul, she claims; everyone else, including her husband Edgar, is little more than scenery.

With this choice, Bush gives voice to a female character who—though an electric presence in the novel—is denied the agency of self-narrating, or even of being narrated through a close third person. Nelly may be presented to us by Lockwood as a simple, transparently objective narrator, but the novel is littered with moments where Nelly complicates the lives of those around her by revealing or concealing what she knows. Bush’s musical interpretation of the novel makes visible the questions that surround point of view: who does the telling? What is their agenda? Who can we really trust?”.

Maybe there will be some new features written about Kate Bush’s Wuthering Heights given the new film that is coming out. Bush wrote this classic song during a full moon on 5th March, 1977 when she was living at 44 Wickham Road, Brockley. I believe she had a few complaints from neighbours given the noise! I will move to my idea about a viral moment. Before that, earlier in the year, BBC revealed the surprising (in their words) story behind Kate Bush’s Wuthering Heights:

“Wuthering Heights, with its lush, sweeping orchestration, its literary sensibilities, and Bush's soaring theatrical delivery, did not strike her record company as an obvious radio hit. EMI instead wanted the rockier sounding James and the Cold Gun, a favourite from her KT Bush Band's pub set, to be the first single from the album. But Bush was adamant that Wuthering Heights should be her debut – and EMI eventually relented.

To accompany its release, two music videos were filmed. One was studio-based and the other was shot outside, with Salisbury Plain in Wiltshire, England, standing in for the novel's windswept Yorkshire moors. For the shoots, Bush used the interpretive dance instruction she had received to mesmerising effect. Both videos feature her gazing intensely at the camera, clad in floaty dresses while performing dramatic and emotive dance movements to express the spectral essence of Cathy. Her dance routine was so distinctive that it became something of a cultural touchstone, inspiring both comedic homages and an annual event called The Most Wuthering Heights Day Ever, at which Bush devotees recreate her performance from the videos.

The single would prove to be her breakthrough. Within three weeks of being released, it had reached number one, getting a boost from Bush's arresting mime-style performance on the BBC's music chart show, Top of the Pops. It knocked Abba's Take a Chance on Me off the UK singles chart's top spot, and stayed there for a month. It also topped the charts in Ireland, Italy, New Zealand and Australia. Her album, The Kick Inside, when it was released the following month, sold more than one million copies. She would go on to collect an Ivor Novello award in 1979 for The Man with The Child in His Eyes, released as her second single from the album.

WATCH: 'I use all kind of props like the makeup, the clothes and especially the piano. That's a really big prop'.

Wuthering Heights marked the start of Bush's innovative, critically acclaimed and shape-shifting musical career. She has now released a total of 10 studio albums, melding diverse influences, complex musical storytelling and new technologies, such as sampling, to spawn hit singles like Hounds of Love and Babooshka. She has also collaborated with artists including Prince and Elton John. Her duet with Peter Gabriel, Don't Give Up, would pick up another Ivor Novello award in 1987”.

I will do a series of features to mark the fiftieth anniversary of Wuthering Heights in 2028. New angles and some deeper diving. However, I wanted to revisit the track as it turns forty-eight on 20th January. One thing I always assumed is that Bush watched the 1967 BBC T.V. adaptation in 1977 and then wrote the song very soon after. Maybe watching it in 1967, reading the novel, and then being inspired years later to write a song. I would love to know whether that was the case. Did Kate Bush watch that adaptation aged nine and then recall it a decade later? As Stranger Things are about to feature again Running Up That Hill (A Deal with God), it will bring another wave (smaller this time) of attention to that the track. In terms of viral moments and songs that create this huge reaction, Wuthering Heights is long overdue. It might see streaming numbers bump given the Wuthering Heights film. However, it made me think how we need this place for Kate Bush’s 1978 debut single on the screen. I might have pitched it before. I do think that one of the most loved and popular aspects of Wuthering Heights is its choreography. The dance moves by Kate Bush. Reproduced by a horde of fans each year, it would be amazing to see this song and its dance feature. If Stranger Things’ use of Running Up That Hill (A Deal with God) was epic and was used in this quite stirring and huge scene(s), that is not to say Wuthering Heights would need to be more low-key. I like the idea of a meet-cute where two people across a room/café/bar hear Wuthering Heights play and either mouth the words or they perform the moves (sat down). There could be some form of chaos or disruption in front of them, yet this song by Kate Bush plays. Something that cuts through the tension and noise. Or it plays after a tense or awful moment. I do think that this song has more life in it! More to give. Not that Kate Bush’s songs need viral moments or featured in films. However, I feel Wuthering Heights does deserve a bigger life. Used in a modern film. So that people realise its power and importance. It is great the song gets played on the radio, yet it would be incredible hearing this song on the big screen. Maybe it would be another time Kate Bush could enjoy this chart resurgence. Not only is this single, released on 20th January, 1978, one of Kate Bush’s best singles. It is one of the greatest songs…

IN music history.

FEATURE: Needle Drops and Scores to Settle: Scene Four: The Bathroom: Psycho (1960)

FEATURE:

 

 

Needle Drops and Scores to Settle

Scene Four: The Bathroom: Psycho (1960)

__________

BECAUSE one of the…

IN THIS PHOTO: Anthony Perkins and Janet Leigh in Psycho – leading up to the infamous shower scene, which had a profound effect on audiences (in 1960) and cinema/PHOTO CREDIT: Alamy

most influential films in cinema history turned sixty-five earlier in the year, I wanted to spend some time with its classic score. In the first three features in this series, I have looked at soundtracks. Films that took us back to 2013, 1997 and 1977. Now, I am jumping back to 1960 and one of the most distinct and terrifying scores in film history. Psycho is one of Alfred Hitchcock’s greatest films and most notable works. However, you feel that it would not be viewed in quite as high regard were it not for the score by Bernard Herrmann. The incredible German composer used only a string orchestra because of budget reasons and wanted to create a black-and-white sound to match the film’s aesthetic. I don’t think that we dissect film scores enough. I am bringing in a few articles about the Psycho score, so that we can get a deeper impression of how it came together and why it has the legacy it does. Film Independent put Psycho under the microscope for their Anatomy of Great Film Score series:

“Last week in our Know the Score “Anatomy of a Great Film Score” series, we went to outer space to explore Max Steiner’s iconic music for 1933’s King Kong. In this special Halloween-themed bonus installment, we’re coming back down to earth (and checking into a suspiciously dilapidated family-run motel off the highway) to take a closer listen to one of the most iconic horror scores of all time: that for the 1960 Alfred Hitchcock classic, Psycho.

The score for Psycho is a study in economy. Underfunded, Hitchcock was thinking in terms of working with less—even shooting the project with the production team from his Alfred Hitchcock Presents TV series, rather than a “proper” studio film crew.

The audience, too, is forced to work with less. When we watch the black-and-white film, instead of seeing grisly red blood swirling down Marion Crane’s shower drain, we infer its color from the dark stain in the water. And when we listen to the film score, we hear a pared-down sound with just a string orchestra used as the palette for composition.

Hitchcock thought that the score might use jazz and be-bop as a starting place. Which likely would’ve been more to the studio’s liking, as scoring styles in the 1950s and early ‘60s were indeed moving in that direction. But composer Bernard Hermann—one of Hitchcock’s most steadfast collaborators-rejected this approach. He wanted to use traditional orchestral sounds, which he did so masterfully that his Psycho score later came to define the sound of slasher films for a generation.

The use of just strings is a study in restraint, one that perfectly piques the audience’s sense of suspense. The orchestra’s sound is further reduced by the use of the sordino—or “mutes”—on the strings. This sound of muted strings holds back the emotion that a string orchestra would normally have without mutes.

The quieter sound matches the tension on screen, starting with the prelude over opening credits and continuing through the love tryst scene that opens the film. Here, Hermann used the tension of the muted strings to amplify a sense of fear in the music. The effect is that of a strained voice that wants to scream, but which is held back, frustrated and restrained.

Hitchcock and Hermann had a long working relationship that, by the end of the ‘50s, had become a real partnership based on trust. Hitchcock therefore trusted Hermann enough to cede his initial jazz-focused ideas and listen instead to the music Hermann was creating according to his own creative impulses—the orchestral string score.

The most well known scene from Psycho is its infamous shower scene. The scene stands out in cinema history for a few reasons. The first: this is where our leading lady (Janet Leigh) meets her premature demise. The timing of a leading lady’s death one-third of the way through the film was very unorthodox—both then and now—and makes the shock of the violence even stronger. Also, the scene is partially shot from the vantage point of the killer, forcing the viewer experience the action through the murderer’s eyes.

Hitchcock initially wanted the shower scene to play with no music at all. In another example of trust between collaborators, when Hitchcock finally heard the music Hermann had composed for the sequence, he immediately changed his mind.

This decision made way for one of the most iconic uses of score in cinema history, with Hermann’s strings imitating high-pitched shrieks to match the emotions of the victim being stabbed onscreen—a classic sound so often quoted and echoed in the slasher films that followed. This is the only place in the film where the strings play without mutes, their full power released in a shocking marriage of image and sound.

But in the first part of the scene, as Leigh’s Marion Crane begins to relax in the shower, there is in fact no music. With Marion facing the wall, we see behind her someone enter the bathroom—but still, silence. The tension is already high. Then, the music and the action both ramp up and accelerate beyond expectations, as the knife cuts through the shower curtain and the slicing chords high up on the violins rip into our ears.

Norman Bates’ (Anthony Perkins) voyeurism—at first watching his victim through a peephole in the wall, and later behind her in the bathroom through the shower curtain—is made all the more frightening when the curtain is torn down by the dying hands of our victim as she slumps to the tile floor. The staccato strings in the low register beat out a slowing rhythm. The victim’s heart is slowing down, but we’re also slowly realizing that the film has taken a dreadful turn.

The brutal murder of the leading lady in the first third is a surprising turn that leaves the audience feeling hopelessness. Psycho is a film that owes more than the usual debt to its musical score, more than most other films. And appropriately, although Psycho had a smaller budget than the usual Hitchcock production, Hermann was actually paid twice his usual fee.

As Hitchcock himself said it best: “Thirty-three percent of the effect of Psycho was due to the music”—and probably more, if you ask Bernard Hermann”

Before getting to another featured, I would say to people to read reviews like this of the incredible Psycho score, as you get insight into the different pieces. There are articles like this that theorise that some of the score was not originally written for Psycho. Pieces that were composed years before 1960. I am going to move to NPR and their feature about Bernard Herrmann’s incredible score:

"In the mid '50s, he started working with Alfred Hitchcock on films like "The Trouble With Harry," "The Man Who Knew Too Much," "Vertigo," "North By Northwest," and all of those films came before "Psycho." So by 1960, when "Psycho" was released, the partnership between Alfred Hitchcock and Bernard Herrmann was very, very close. Hitchcock is famous for having planned every detail of his movies to the smallest one, but it was interesting to discover that he actually left the area of music very, very open to Bernard Herrmann. Hitchcock knew that he had someone who thought very closely along the same lines as he did, who understood not only what a movie was about, but about the subtext of the film."

"Hitchcock was doing something different. He was doing what was, for him, a low-budget film. And everything in the budget got cut back, including apparently the music budget. So Herrmann was working with a little less. He got his fee, but he didn't quite have the resources that he usually had. And 'Psycho,' of course, is a black-and-white movie. And Benny later said that he wanted to complement the black-and-white photography with a black-and-white score. Well, just as there's tremendous range in black-and-white movies in the photography of them, Herrmann found tremendous range within this limited group of instruments, the string section. He made the strings extremely dry. He put mutes; he loved to have mutes on his strings."

"So it creates a very different sound from what we think of as the usual Hollywood romantic film score that used violins. It's the exact opposite. It's cold, it's chilly, and he uses the strings also for percussive effects, since we don't have the traditional things like timpani and all the sort of devices that film composers use to scare or startle people. He created percussive effects in the strings."

"Psycho" was a black-and-white film made at a time when Hitchcock typically worked in color and when moviegoers typically expected color. As film critic Leonard Maltin says, `This was a film that defied all sorts of expectations.'

"There had never been a film, certainly not from a Hollywood filmmaker or a Hollywood studio, like "Psycho." It was exponentially a hundred times more shocking than it is today. Imagine the unthinkable, killing off a major star in the first portion of the film. No one had ever done that; few have done it since. It's outlandish, it's outrageous. It's, of course, brilliant. So to be sitting in that theater in 1960 and hear the sudden shriek of violins as Anthony Perkins pulls that shower curtain and to witness what happens from that point on, I think people must have been thinking, `Am I really seeing what I'm seeing here? Is Janet Leigh dead? Janet Leigh can't be dead, she's the star of the movie.' It was devastating."

The murder of Marion, Janet Leigh's character, is the most famous and terrifying moment in "Psycho," some would say in all of Hitchcock's films, if not in all cinema. Remarkably, Hitchcock at first didn't want the scene to have music at all.

"He thought that it would be most effective if the audience simply heard Janet Leigh's screams, her struggling, the sounds of the knife and then the water running," Steven Smith says. "+His collaboration with Herrmann was so close, however, that Benny knew, `Well, I have a different idea,' and he wanted to try writing music for that. And he knew that if Hitchcock didn't like it, they didn't have to use it. But Benny went ahead and wrote what has become, I think, the most famous hue in the history of film music for the shower scene. And I think one of the proudest moments of his career as a film composer was when Hitchcock later told him that he, Hitchcock, was disappointed with the way the shower scene was playing; that it did need music. And Benny later said that he told Hitchcock, `Well, I did compose something. Would you like to hear it?' And he played it for Hitchcock, and Hitch said, `Well, absolutely, we'll use that.' And Benny, rubbing it in, said, `But you said no music,' to which Hitchcock replied, `Improper suggestion, my boy. Improper suggestion.'"

"It's interesting to watch that sequence without the music, because it's still a very disturbing sequence, but you're watching it as an outsider. You're watching a terrible thing happen, but you're watching it from the viewpoint of someone outside of it. With Herrmann's cue, you are Janet Leigh. You are feeling the absolute terror and panic and loss of control that she is feeling in trying to fend off this sudden attacker. And that was the thing that Herrmann did again and again, especially in Hitchcock's films, was that he forced the viewer to feel what the characters on screen were feeling. He considered film music, in his phrase, the `communicating link' between the filmmaker and the viewer."

Unlike many composers, Bernard Herrmann got to see Hitchcock's film and write to it scene by scene, which isn't to say that every piece of Herrmann's score came to him as he watched Hitchcock's otherwise finished product. Professor Royal Brown says some pieces in "Psycho" were written by Herrmann more than 25 years earlier.

"I interviewed Herrmann very shortly before he died and insisted to me that he always depended upon the film to be inspired for the music. And yet there's a major cue called "The Swamp" in "Psycho" that is taken out of a 1933 symphonetta for strings that Herrmann wrote. And there are several other points in the "Psycho" score that also come from this. So my impression is that Herrmann was exploring very deep, dark, gloomy areas a long time before he met Hitchcock”.

The final feature I am bringing in is from the BBC from last year. Marking sixty-five years of a classic film and score, they wrote about how the terrifying music through Psycho changed film forever. It no doubt had a huge bearing on Horror scores that followed. Still influencing composers to this day. There are few films that are as suspenseful and tense as Psycho. Its lack of gore and genuine terror is what makes it so disturbing and harrowing:

“Screaming violas that sound like they're coming out of an abattoir. Thumping bass notes, which slowly decrease in speed and seem to imitate a victim's faltering heartbeat. Take away composer Bernard Herrmann's score for director Alfred Hitchcock's Psycho, which turns 65 this month, and it's fair to say this 1960 horror film wouldn't have the same nerve-shredding impact.

Particularly key is the knives-edge music that plays when blonde bombshell Marion Crane (Janet Leigh), not long after checking in to the Bates Motel, is attacked through a shower curtain by a shadowy killer, who later turns out to be the motel's owner, Norman Bates (Anthony Perkins), dressed up as his dead mother. "That music is everything," says Rachel Zeffira, a film composer and one half of art-folk duo Cat's Eyes. "It's the birds, it's the bees, and it's the voices in the back of your head."

The project had seemed ill-starred from the start, with executives at Paramount (who had produced Hitchcock's previous five films) showing little interest, not allowing him to film it on their lot, and only distributing it rather than producing it themselves. But despite a paltry budget, Hitchcock proved everybody wrong, and for that he could partly thank Herrmann and his knack for crafting compositions that lifted scenes to new heights.

"Psycho was certainly not a bad film before it was scored, but it lacked tension," explains Steven C Smith, the author of a new book, Hitchcock and Herrmann: The Friendship and Film Scores that Changed Cinema. Herrmann proceeded to give the film a much-needed jolt by writing music for an all-string 50-person orchestra that marked a "return to pure ice water", as the composer described it to Sight and Sound.

Before writing film music, Herrmann would always read the novel a movie was based on and study the literature, so his score was more empathetic. Every note Herrmann played had meaning – Rachel Zeffira

In the case of the most famous scene, this resulted in a chorus of psychologically jarring, high-pitched squeals that meant terrified audiences no longer saw the shower as a safe space. "Before the shower scene many of the musical cues have a depressive quality and they're not really that loud," Smith says. "But suddenly with the shower scene, the mutes are off the strings, and they screech animalistically. This creates a clever link with Norman Bates, the taxidermist of birds."

Herrmann forced an initially dismissive Hitchcock to watch the shower sequence both with and without his jump-scare music. "Oh yes, we must use it!" Hitchcock concurred. "But I thought you didn't want my music here?" Herrmann sarcastically replied, before the director scoffed: "My boy, improper suggestion."

It's an anecdote that reflects the pair's fiery partnership. Their creative union consistently resulted in film scores that make the viewer feel like they are caught up in a character's murky inner dialogue, privy to both their most romantic dreams and most hopeless nightmares (see Vertigo). Zeffira describes the music that plays whenever Norman Bates is on screen as being "dejected and anxious", which she says "makes you feel sorrow for a killer. I know before writing film music, Herrmann would always read the novel a movie was based on and study the literature, so his score was more empathetic. Every note Herrmann played had meaning".

The origins of Herrmann's genius

An avid childhood reader, Herrmann (or Benny as he was called by friends) spent most of his downtime passionately debating whether literature or music was the greatest art form. Music ultimately won out, and Herrmann was winning classical competitions by the age of 13. Having studied at New York University under the legendary composer Percy Grainger, one of Herrmann's first professional roles as a studio musician was for CBS Radio.

At CBS he worked with Orson Welles, winning his trust with 1938's radio adaptation of War of the Worlds, which was so realistic that some listeners believed it signalled a real unfolding alien invasion. He then became the obvious choice for scoring Welles' 1941 masterpiece, Citizen Kane. Working on hundreds of radio plays taught Herrmann how to create compositions that conjured up imagery, and also taught him the power of long pauses: he used silence as another instrument to build suspense.

Professionally, Herrmann was known for having a fiery temper and, as his daughter Dorothy told the New York Times, he "didn't suffer fools gladly". Yet Smith is keen to stress that the musician was less moody than his reputation suggests, and tended to go out of his way to recommended younger composers for jobs. "He was misunderstood," Smith says. "Given his reputation for irascibility, I think people would be surprised at how gentle Bernard could be, especially with animals. He was suspicious of arrogant humans, but he gave unconditional love to his cats."

The film's central theme would also go on to be sampled by dozens of other artists. Perhaps the most exhilarating example is rapper Busta Rhymes' 1998 single Gimme Some More. According to the hip hop producer and contemporary classical composer Michael Vincent Waller, Herrmann's Psycho score is beloved by rap artists. "Herrmann knew how to loop these little nihilistic fragments and become this master of repetition. In many ways, the way he was conducting film music was a lot like how rap producers chop up beats."

Waller says that Psycho didn't just change horror, but wider cinematic storytelling: "The Psycho music is a reference whenever you want to build tension and it's clear John Williams was inspired by Psycho for his stalker-ish bass notes for Jaws. Whenever you hear creepy violins in a horror movie, or feel like a film score has become its own character, then that can all be traced back to Psycho."

The creative relationship between Hitchcock and Herrmann ended on 1966's Torn Curtain. The former was incensed that the latter stubbornly refused his orders to make a stripped back pop score, insisting instead on using 12 flutes, 16 horns, nine trombones, two tubas, eight cellos, eight basses and two sets of timpani. Herrmann was fired, but it didn't derail his career, and right until his death from a heart attack in 1975 the composer remained an innovative force”.

I am not sure which score or soundtrack I will look at for the fifth part of this series. Perhaps something from a 1970s or 1980s film. A romantic comedy film or something else. I am not sure. I was eager to focus on Bernard Herrmann’s Psycho, as it is the first score I have talked about and, when we think of the all-time great scores, Psycho springs to mind. Amazing what Bernard Herrmann created with a string orchestra and not a full one. Maybe working with that restriction makes the Psycho score…

SO effective.

FEATURE: The Best Albums of 2025: Hayley Williams - Ego Death at a Bachelorette Party

FEATURE:

 

The Best Albums of 2025

Hayley Williams - Ego Death at a Bachelorette Party

__________

I love everything…

PHOTO CREDIT: Zachary Gray

about Hayley Williams. A phenomenal songwriter and band lead of Paramore, she is someone who is a role model. Williams first uploaded seventeen of Ego Death at a Bachelorette Party’s songs to her website on 28th July, and later released them as standalone tracks onto streaming services on 1st August. Williams self-released the album on 28th August on Post Atlantic, an independent imprint. A couple of additional songs were added to Ego Death at a Bachelorette Party on 24th October and 7th November. In terms of reviews and acclaim, Ego Death at a Bachelorette Party is up there with the best of the year. An astounding album that has won so many five-star reviews, I will get to some of those reviews to end. There weren’t a tonne of interviews about Ego Death at a Bachelorette Party. You would think there would be something extensive from The Guardian or Rolling Stone. However, there are one or two online examples. Hayley Williams spoke with THE FACE in September about her third solo studio album. A top ten album in the U.K., it was not an especially massive success in her native U.S. However, in terms of taking a step forward, I think her latest album is even better than 2021’s FLOWERS for VASES / descansos:

“Twenty years into her career, Hayley Williams is finally an independent artist. When she was scouted by Atlantic Records at the age of 14, Williams was offered the dream of being a solo star. She pushed back, telling the label she’d rather make music with the scrappy emo band she’d started with her friends from school. As we all know, sticking to her guns was a good call.

Paramore went on to define the noughties pop-punk scene and beyond. Their emotionally raw anthems have inspired everyone from PinkPantheress and Olivia Rodrigo to SZA and Lil Uzi Vert, and over the past five years, the group has become bigger than ever (they’re currently in the Top 20 most streamed rock bands of all time on Spotify). But because of the 360 deal Williams signed when she was 15, Atlantic Records got a percentage from every Paramore record, T‑shirt and ticket sold.

“If it wasn’t for being young, ignorant and hard-headed, maybe we would have felt exactly how oppressive a contract like that could be,” Williams says of the band’s early years, sitting cross-legged on a park bench in London’s Primrose Hill. Hers was the first ever 360 contract (in most cases, record labels just profit from record sales and streaming) and the practice has been heavily criticised for taking the power from young artists ever since.

Paramore finished their obligations to Atlantic with the release of 2023’s fiery alt-rock spectacular, This Is Why. ​“I just thought it’d be like a birthday party. Oh, we’re finally done. Freedom. But we don’t really talk that much about the grief that can come with good things,” says Williams. ​“It was a giant change that also left me asking ​‘what am I going to push against now?’”

That sadness lit a fuse, and Williams poured misery, rage, frustration and loneliness into her snarling new solo record Ego Death At A Bachelorette Party, which was properly released last week. EDAABP is, according to Williams, a puke bucket of all her influences and everything she needed to say. Glistening pop, new wave, emo and punk all feature, as does tender folk and sweeping electronic music. ​“It’s a lot of chaos,” she grins. ​“If I don’t get the poison out, it’s never going to come out.” Stand-out tracks include Mirtazapine, a scuzzy punk love-letter to anti-depressants, while the twinkling emo of True Believer sees Hayley deconstructing faith and the alt-pop swagger of Ice In My OJ has her calling out the ​“dumb motherfuckers” who she made rich.

Hayley Williams has done solo records before, but not with this much freedom. A handful of crossover collaborations in the 2010s were deliberately billed as Hayley Williams from Paramore, while 2020’s solo album Petals For Armor and its 2021 follow-up Flowers For Vases were both full of experimental, delicate electronic music that could never be billed as Paramore. ​“At the time that felt so liberating and so freeing, but I listen back now and can see how I was being a little restrained.”

This is a hangover from spending most of her career trying to convince people that Paramore are a band, and not a glorified solo project. ​“I was really sensitive to it because it hurt my friends’ feelings,” she says, having also experienced the brunt of pop-punk misogyny, being one of the few women in the scene that had a prominent platform. Thanks to a lot of therapy, ​“those voices just feel so quiet and far away now. It’s nice to be able to laugh at the meatheads on the internet who unfortunately did a lot of damage back in the day,” she grins. You can buy a T‑shirt that says ​‘Hayley Williams Is My Favourite Band’ from her online store, which is just one of the ways she’s reclaiming her own legacy with this solo era.

“In a lot of ways, writing this record gave the 15-year-old version of myself, who felt like she had lost a lot of her power by signing to a major label, a voice. It freed her, so I don’t have to be arrested in that stage of development anymore”.

There are a few reasons why I want to include a lot of this interview from The New York Times. The conversation is really interesting, and Hayley Williams is always such an incredible interviewee. I also love the photos taken by Meghan Marin. Such extraordinary shots that add these captivating and wonderfully rich visuals to the chat! I would urge people to read the entire interview. I am not able to include all the photos here:

“COSCARELLI Is that why it took you so long to make a solo album, that resistance to being singled out? And what changed in 2019, 2020 that allowed you to make that leap?

WILLIAMS I was a huge fan of what Zac was doing with his first solo project, HalfNoise. He had gone away for like seven years from the band and really found himself. I believe he found himself in his 20s in a way that Taylor and I still haven’t.

COSCARELLI Because you didn’t get off the ride.

WILLIAMS Arrested development is a thing. I just thought, “He’s doing it and it’s not a big deal.” It’s feeding the band, if anything. My divorce had been finalized and I really got to process it, and a lot of that stuff needed to come out.

I’m also a fan of bands like Talking Heads or Radiohead — all the members have their own projects. I was just interested in that life, because I still don’t really know how this all shakes out. We’re just gonna keep getting older and I want to be an artist until I die. That’s going to look a thousand ways. So this was kind of the first way that I got to try it out. And those first two albums, now when I look back at it, I’m like, “Man, I still was so cautious.”

CARAMANICA I wonder what the open reception to those albums felt like, especially after being so firmly insistent in the earliest years: “It’s not me, it’s us.”

WILLIAMS I don’t typically like to do the thing that people expect or want me to do. I think that’s probably not always a great thing about me. So I did feel a bit defeatist about finally giving into this thing that I had been resisting, like, my whole life. It was really scary. I think the one thing that sort of got me through that was the fact that we had been around for so long at that point. There was some level of understanding of the context of where I come from.

This project, and the way that people are talking to me about it, I get to feel like a whole person. I don’t have to have this caveat, like, “Well, I’m in this band.” I trust that people know that.

PHOTO CREDIT: Meghan Marin

CARAMANICA It seems like the artist you want to be is one that can reference the Bloodhound Gang (“Discovery Channel”) and then two songs later have a song about the South’s legacy of racial tensions (“True Believer”).

WILLIAMS While I was deconstructing my faith and my religious upbringing from around age 19, I really didn’t realize how much of Paramore for me was a religious experience, a God pillar in my life. Paramore is the backdrop to every conversation. So songs like “Discovery Channel” are really me kind of like roaming the halls of whatever that structure is and just trying to take it apart more.

“True Believer” — I’m never not ready to scream at the top of my lungs about racial issues. I don’t know why that became the thing that gets me the most angry. I think because it’s so intersectional that it overlaps with everything from climate change to L.G.B.T.Q.I.A.+ issues.

I reference this neighborhood in Franklin, really close to where I grew up called Hard Bargain that this formerly enslaved man bought from his former enslaver. It’s still there, predominantly Black families, and it’s protected now. But of course, Franklin and Nashville are being gentrified all the time.

The reason I was writing about Nashville a lot is that we came home from tour and I thought, “Well, I’m gonna go to L.A. — get me outta here. Trump just got elected again and I don’t wanna be in a red state.”

COSCARELLI There’s a line on the title track, “Ego Death,” where you say, “I’ll be the biggest star / in this racist country singer’s bar.” Do you want to name names?

WILLIAMS I’m always talking about Morgan Wallen. I don’t care.

COSCARELLI I think that relates directly to Paramore and your fan base. There’s been a lot written over the years about its diversity, and Paramore’s Black fans in particular.

WILLIAMS I feel that, too, now more than I did growing up. It definitely shifted around the self-titled record. We started saying yes to a lot more. We were playing “The Voice.” I think a lot more people got introduced to our band during that time — people that maybe weren’t welcome in the scene that we grew up in.

PHOTO CREDIT: Meghan Marin

Songs like “Ain’t It Fun,” when Taylor and I were writing that, we were playing these synth parts and going, “It’s like Stevie Wonder, you know?” I’ll never forget watching “Stop Making Sense” while we were recording “After Laughter” and the camera panning across the crowd, seeing how diverse it was. I just got really teary. And obviously there’s some of the best Black musicians onstage with them and they’re all working together. It just felt like this celebration of humanity. And I was like, “That’s what I want to feel like.”

CARAMANICA Is the scale of the music on the new solo record designed explicitly to avoid the chance of a big hit like Paramore’s “Still Into You” happening?

WILLIAMS This is my chance to emulate the music and the artists that made me want to do this in the first place, none of which were big artists. It’s one of my favorite bands of all time, but I don’t really listen to Paramore — I just love what Paramore is about. I think if a song blew up, who’s gonna complain about that? Writers want that moment more than anything.

CARAMANICA You don’t feel like it would pull you in a direction you don’t want to go right now?

WILLIAMS No, because I’m not impressed by it.

CARAMANICA You’ve been there, you’ve been in those rooms. You’ve gone onstage with Taylor Swift opening on the Eras Tour.

WILLIAMS Yeah, and honestly, I loved that. We got asked to be on the biggest tour in music history. I’m never gonna see photos of myself dressed as Freddie Mercury at Wembley and not be psyched that we did that.

That was like the honor of our [expletive] life and career, but there’s nothing like a Paramore show. All day long, I’d rather be at a Paramore show with the people that have grown up with us. It feels like family.

I’m so honored to get to do it and I’m also very relieved to get to try something new and flex different muscles. You gotta deconstruct this system that you were a part of on multiple levels, gotta tear down Paramore the same way I had to tear down my evangelical upbringing. I have to do it for me to grow up because I don’t wanna be stuck in a traumatized 18-year-old’s headspace for the rest of my life.

I’m 36, it’s not cute anymore, you know?”.

Two reviews of Ego Death at a Bachelorette Party to include before wrapping up. An album that tackles depression, ego, loss and reputation, it could have been a heavy or one-dimensional release. However, as you will see in this review from Kerrang!, that is not the case. In fact, it is a fearless and year-defining release from one of the greatest artists and songwriters of modern times. This enormously varied and explorative album.

“It’s been a perplexing summer so far for Hayley Williams fans, feeling like a whiplash of violent yellow aesthetics and sorrow-driven songs. The first glimpse of this new era came in July, arriving like sprawled out puzzle pieces on a ’00s-inspired website, which would ultimately become the Paramore vocalist's third full-length, Ego Death At A Bachelorette Party. Building the jigsaw, though, was a task awarded to us, and while the vision is near complete, she's already teasing there are two more songs to come.

It’s hard to think what else could be missing from this body of work; the most beastly out of all of Hayley's solo records, EDAABP is somewhat of an enigma given she has remained relatively tight-lipped on the inspirations behind it, and the lack of order disrupting any straight narrative to begin with. The first chunk of the album nails her tactic of making high-impact, fizzing tracks that sound so incredibly alive, as an undercurrent of depression runs beneath if you listen closely enough – while the chorus of Glum ascends heavenly, Hayley quizzes, ‘Do you ever feel so alone / That you could implode / And no one would know?’

In this way, this album harks back to Paramore’s After Laughter. There’s a climbing synth motif on Love Me Different that feels familiar with this in mind, and many tracks feature the recurring theme of water – a metaphor Hayley uses to describe love and her views on relationships that she’s ran with across all of her solo records, but notably on After Laughter’s Pool.

While she excavates even deeper into herself on this release, Hayley also casts her net far and wide lyrically: True Believer, an examination of religious hypocrisy and racism, is bold, brilliant, and quietly scathing. Accompanied by dystopian, spaced-out piano, Hayley draws on how these themes play out across America: ‘They pose in Christmas cards with guns as big as all their children / They say that Jesus is the way / But then they gave him a white face.’

Marking her first release outside of Atlantic Records, Ego Death At A Bachelorette Party is the most vast summation of Hayley’s story so far. A musical purge of trauma patterns, depression, love, loss, and of course, ego, the wit and honesty of Hayley’s lyricism is the shining star of this work. It’s an unboundless exploration of a life lived under the scrutiny of misogyny and in the public eye from one of our time’s most creative and fearless artists.

Verdict: 5/5”.

I am aware Ego Death at a Bachelorette Party has different versions, so the reviews might not be talking about the same sequence of songs. However, it is clear that every critic who has heard Hayley Williams’s third studio album has been blown away by its ambition and consistency. Such a sprawling or long album could have contained filler. Everything on Ego Death at a Bachelorette Party is a flawless masterpiece. This is what AllMusic write in their review:

“Hayley Williams is sad and dealing with it on her third solo album, 2025's intimately rendered Ego Death at a Bachelorette Party. The follow-up to 2020's Petals for Armor and 2021's Flowers for vases/descansos, it also arrives two years after This Is Why, her Grammy-winning sixth album with pop/rock outfit Paramore. In contrast to that album's angular post-punk dissonance and cutting political invective, Ego Death finds Williams in a ruminative mood, coming to terms with her depression, romantic desires, and sometimes difficult relationships with her Paramore bandmates. Produced with Canon Blue songwriter/instrumentalist Daniel James, the album showcases a modicum of sonic exploration, whether it be the fuzzy '90s shoegaze of "Mirtazapine," the childlike vocal processing in the Beck-like "Glum," or the gauzy, Karen Carpenter-esque multi-tracked harmonies of "Dream Girl in Shibuya." Yet these are relaxed, organic productions where the experimentation never gets in the way of the pure emotions at the core of each song. There is a diaristic quality to Ego Death and one could easily assume Williams is writing about specific people in her life. Are Paramore siblings drummer Zac Farro and former guitarist Josh Farro the subjects of "Brotherly Hate?" Probably. Is the bass-heavy "Hard" about the fall-out from her divorce with New Found Glory guitarist Chad Gilbert? Most likely, yes.

Often, there's overlap, as in "Ice in My OJ," where Williams embraces a rapper's swagger, singing "I got ice in my OJ, I'm a cold hard b****/A lot of dumb mutherf***ers that I made rich." That she also repeatedly screams "I'm in a band" on the chorus speaks to the raw, end-of-a-rope emotionality of the album. Yet the answer to whether a rumored romantic relationship with Paramore guitarist Taylor York is at the center of much of Ego Death remains enticingly elusive. Is he the titular subject of "Disappearing Man" with his "wild hair and stare that could melt stone"? Or is he the lover Williams thought was always going to catch her and now has to "watch me fall" in "Parachute?" Regardless, Ego Death certainly feels like a break-up album, both literally in terms of a relationship ending and as a metaphor for Williams' own personal and creative rebirth. On "True Believer" she reckons with her conservative Christian Southern roots, especially as a California-honed rock singer who continues to live in Nashville. There are also hints that even the best relationships can have problems, as in "Love Me Different," where a buoyant synth groove evoking Paramore's "Hard Times" belies romantic troubles. She underscores this sense of emotional bottoming out on the title track, singing "Can only go up from here." Musically, all of this hangs together with the relatable warmth and engaging lyricism that mark the best of Williams' work with and without Paramore. With Ego Death at a Bachelorette Party, Williams has crafted an album about letting go and finding a way to move forward honestly, and perhaps most importantly on her own terms”.

I am going to finish up now. Once again, I think the absolute best albums of the year have been made by women. That is not to discount male artists, though you can look at exceptional albums from Lily Allen (West End Girl), ROSALÍA (LUX) and Hayley Williams and they are on this different level. Albums that you listen to and are instantly stunned and moved by. You come back to them and they stay with you. I admire Hayley Williams greatly and am not surprised she has recorded one of the best albums of the year. I am not sure if there will be more music from Paramore but, to be honest, I would rather hear solo stuff. She is on this rarefied level and I feel her next studio album will be as astonishing and acclaimed as Ego Death at a Bachelorette Party. This is a truly special album that…

DEMANDS to be heard.

FEATURE: Needle Drops and Scores to Settle: Scene Three: You Should Be Dancing: Saturday Night Fever (1977)

FEATURE:

 

 

Needle Drops and Scores to Settle

Scene Three: You Should Be Dancing: Saturday Night Fever (1977)

__________

I think I will…

move onto the score for Psycho for the next instalment of this feature. However, today, I am exploring one of the greatest film soundtracks ever. Saturday Night Fever was released in 1977 and is considered one of the all-time best films. I think that its soundtrack is more memorable and discussed as the film itself. I am going to start out with this feature, that tells the story of how the Bee Gees wrote the songs for the soundtrack in a week.

“Popular music in the '70s had many dividing lines, but none was bigger than disco.

Bee Gees played an undeniable role in this shift, notably with their involvement with the soundtrack to Saturday Night Fever. Starring John Travolta as Tony Manero, the film was a critical and commercial success, grossing more than $20 million within the first few weeks of its release on Dec. 16, 1977.

Saturday Night Fever may not have invented disco, but it brought it to the forefront of pop culture in a way that was "culturally, historically or aesthetically significant," as the Library of Congress noted in 2010 when the movie was selected for preservation in the United States National Film Registry. Bee Gees would became unshakably tied to the project, even though they never intended to be at the helm of the disco movement or even involved in the film.

In fact, their music had been more rooted in traditional pop, rock, country and R&B than dance-floor music. It hadn't always been easy. Bee Gees had split up and reconvened by the time Saturday Night Fever producer Robert Stigwood approached them, reaching both the top and the bottom of the charts. They were currently back on top thanks to hit songs like "Jive Talkin'" and "You Should Be Dancing."

There was something particularly compelling about Bee Gees to Stigwood, who had been managing the group since 1967. "I loved their composing,” Stigwood told Rolling Stone in 1977. "I also loved their harmony singing. It was unique, the sound they made. I suppose it was a sound only brothers could make."

Stigwood offered little detail about the new project when he called. "We were recording our new album in the north of France," Robin Gibb would later recall, "and we'd written about and recorded about four or five songs for the new album when Stigwood rang from L.A. and said, 'We're putting together this little film, low budget, called Tribal Rites of a Saturday Night. Would you have any songs on hand?' And we said, 'Look, we can't, we haven't any time to sit down and write for a film.' We didn't know what it was about."

"Tribal Rites of the New Saturday Night" was the title of a 1976 New York magazine story about the disco scene written by British journalist Nik Cohn. The article turned out to be mostly fictional but served as source material for Saturday Night Fever. Meanwhile, the production of the film had already started.

"The Bee Gees weren't even involved in the movie in the beginning," Travolta told Vanity Fair in 2007. "I was dancing to Stevie Wonder and Boz Scaggs." He was also grooving to Bee Gees' aptly titled "You Should Be Dancing," a 1976 No. 1 that Travolta insisted be kept in the movie even though it was not written for it. The Gibb brothers were unaware of any of that. They only knew that Stigwood was looking for songs and that he had faith in the group.

Even though they knew very little about the movie's plot, Bee Gees started working on music for it anyway, writing a handful of songs to show Stigwood. When Stigwood and film-music producer Bill Oakes came by the Chateau d'Herouville in France where the group was working, the film's script was still unseen. "They hadn’t even looked at it," Oakes told Billboard in 2022.

"What Robert did tell them in broad terms is it's about a guy who works in a paint store and blows all his wages on a Saturday night, and he goes to a club and they do the hustle," Oakes added. "Robert's mission was [to] get the Bee Gees to write a disco track that you cannot stop dancing to, with a great melody – and that's how they came up with 'Night Fever,' for instance. These are great melodies that happened to be in the disco mold. That was the breakthrough. It was interesting: they just simply dropped the live album they were mixing and went straight into it."

The songs began to roll in one after another, and Stigwood's initial feedback was simple: "We played him demo tracks of 'If I Can't Have You,' 'Night Fever' and 'More Than a Woman,'" Maurice Gibb told Rolling Stone in 1978. "He asked if we could write it more disco-y." They took that advice to heart when writing the platinum-selling "Stayin' Alive."

Barry Gibb said Stigwood gave them straight-forward instructions for the track: "Give me eight minutes – eight minutes, three moods. I want frenzy at the beginning. Then I want some passion, and then I want some w-i-i-i-ld frenzy!" The song was written in just two hours”.

Whilst we talk about the Bee Gees’ songs on Saturday Night Fever, it is worth remembering that these soundtrack features composed pieces by David Shire, together with songs by popular artists such as Kool & The Gang. On its forty-fifth anniversary in 2022, Albumism explored this iconic film soundtrack. It is an extensive feature, so I am only including a small part of it:

“The balance of the soundtrack album is comprised of original score pieces commissioned by American composer David Shire, in addition to an arsenal of mostly familiar tracks like The Trammps' "Disco Inferno" and Kool and the Gang's "Open Sesame" that were chart hits within the past two years. The artists probably benefited from the additional exposure in the film and on the soundtrack, but it's likely they didn't reap the rewards of the album's explosive sales. "In the annals of history, it could be one of the most profitable records ever created," Galuten insists.  "Because it's a double album, and I don't know how much Robert paid David Shire in royalties, because a lot of the songs like 'Night On Disco Mountain' are just sort of orchestra stuff to fill out the album. I mean, you know, he did a good job and they're all fine and lovely, but they're not pop songs. And songs like KC and the Sunshine Band's 'Boogie Shoes'—it was all in the plan to have a few hits and to have a lot of stuff that was inexpensive. I believe I heard that [Stigwood] has licensed those songs, like the Ralph MacDonald track ['Calypso Breakdown']...for pennies.

I think the only things he was paying full royalties on were the major artists. I don't even know what the deals were like for Tavares or Yvonne Elliman. They didn't have huge hits at the time, so they probably had really low licensing fees. The person that made out like a bandit with that record, besides the Bee Gees because writers' royalties are fixed and they're not negotiable, was Robert and RSO Records."

When asked when he believes he realized that the songs he helped to create for Saturday Night Fever had become much more than just a stack of hit records, Galuten insists he had a hunch from the beginning that they were special. "These songs were so good, and we were all so focused. Because there was nothing else going on in France—we didn't know anybody there, it was out in the middle of the country. We'd get up in the morning and go to the studio and hang out all day long. There was nothing else to do. We knew that these were amazing. There was just the sense that, like, 'oh my God. These are absolute smashes.'

When you hear a phrase like 'Night Fever' and you go 'no-one has ever said the phrase 'Night Fever' before,' or associating the image of 'Stayin' Alive' with the streets of New York and daily life and...it's not about the Vietnam War, you go 'oh my God.' Barry had this knack for—you could call it hyperbole—but this brilliant sort of mapping of these extreme adjectives onto things that might otherwise be mundane. And it gives you perspective to see them as being important."

While the Bee Gees' music was ubiquitous throughout most of 1978, they made few public appearances and scheduled no live dates in support of Saturday Night Fever. In March 1978, right in at the pinnacle of their chart-breaking halcyon, they retreated back into the studio to begin work on what would eventually be the Spirits Having Flown album. When asked if the team was at all nervous to record a commercially successful follow-up to their Fever contributions, Galuten insists they weren't. "I think we were protected by the hubris of youth. When we were working on songs, we weren't wondering 'I wonder if this is a hit?' We would take bets on how many weeks at number one it would get. So to answer your question about us being nervous going back into the studio: no. We were on fire."

Public favor of Saturday Night Fever's music and, by association, the Bee Gees' popularity, has waxed and waned at different points over the years. Although perhaps no rejection of either was as caustic as the "Disco Demolition Night" baseball promotion at Comiskey Park in Chicago in July 1979, during which local radio station WLUP-FM offered 98 cent tickets to a Chicago White Sox-Detroit Tigers double-header in exchange for fans bringing their disco records to the stadium to be destroyed in an on-field explosion. It was nothing short of riotous, leaving many to speculate if the lambaste was really about the music or the cultural and social identities from which the music was appropriated. The Gibbs themselves, frustrated by the backlash they'd residually receive throughout the 1980s, have also dismissed their involvement with Fever at different points. When asked about "Stayin' Alive" by Rolling Stone in 1988, they quipped "we'd like to dress it up in a white suit and set it on fire."

But yet, great music is perennial (and yes, I consider the Bee Gees' contributions to the soundtrack to be indisputably great) and nostalgia seems to be working more for the music of Saturday Night Fever these days than against. Galuten believes the soundtrack and the film still have something profound to offer forty-five years later. "[It's] about how people...the music that influences them is what they listened to in high school and college. And when you're 30, 40, 50, 60, the music from your teenage years has an impact on you viscerally and emotionally that no later music ever has. If you talk to anybody and ask them what their favorite music is, across ages, the similarity itself is not the music. It's the age they were when the music was popular. So all the people that were growing up at this time—this was very important to them.

The thing that makes music really touch lots of people is when it gives some sort of a voice to people who have not had a voice. The Beatles gave a voice to adolescents, and obviously Motown and Stax gave a voice to people who did not have a voice, just like hip-hop did. And so I always wonder 'who did Saturday Night Fever give voice to?' And then I realize it was working-class Americans who had no output and nobody representing them. And here was something saying 'even though my day-to-day life may be mundane, I can go out on Saturday night and I can resonate. This speaks to me’”.

A soundtrack that was top of the charts for twenty-four weeks in 1978, Saturday Night Fever was this sensation! American Songwriter shone a light on some of the wonderful and timeless songs from the 1977 soundtrack. Of course, the Bee Gees’ contributions are the most discussed and most important. I think that Saturday Night Fever might be the best soundtrack ever:

“More Than a Woman” by Tavares, written by Barry Gibb, Maurice Gibb, and Robin Gibb

Oh, girl, I’ve known you very well
I’ve seen you growing every day
I never really looked before
But now you take my breath away
Suddenly, you’re in my life
Part of everything I do
You got me working day and night
Just tryin’ to keep a hold on you

The Gibb brothers wrote and recorded “More Than a Woman,” but the single released was by Tavares. Both versions appeared on the soundtrack album. Tavares had a successful career before they were involved in Saturday Night Fever. The Tavares version of the song was also included on their album Future Bound, released in April 1978.

“Stayin’ Alive” by Bee Gees, written by Barry Gibb, Maurice Gibb, and Robin Gibb

Whether you’re a brother or whether you’re a mother
You’re stayin’ alive, stayin’ alive
Feel the city breakin’ and everybody shakin’
And we’re stayin’ alive, stayin’ alive

Drummer Dennis Bryon had to leave the studio during recording due to the death of his mother. The Gibb brothers had trouble finding a suitable replacement, so they turned to a drum machine. They were unhappy with the results, so producer Albhy Galuten looped a couple of bars from the already recorded “Night Fever.” This resulted in the inside joke with the drummer being credited as Bernard Lupe. After the “song”Stayin’ Alive”‘s success, Lupe became a sought-after drummer until it was discovered he was fictitious.

“If I Can’t Have You” by Yvonne Elliman, written by Barry Gibb, Maurice Gibb, and Robin Gibb

I can’t write one song that’s not about you
Can’t drink without thinkin’ about you
Is it too late to tell you that
Everything means nothing if I can’t have you

The original plan was to have ballad singer Yvonne Elliman perform “How Deep Is Your Love” for the movie, but Stigwood stepped in and switched the song, giving the disco song to her instead. The song would go to No. 1, knocking “Night Fever” by the Bee Gees out of the top spot”.

Before ending with a feature that is about the legacy and popularity of the Saturday Night Fever soundtrack, I want to highlight a feature from Pitchfork published in 2020. They argue why the film is much more than its soundtrack. This dark B-side of Disco, it is a gritty, controversial and often tragic film. Something we do not really associate or get from the soundtrack. If one thinks that Disco was all glamour and inclusiveness, Saturday Night Fever projects this more homogeneous and violent (often homophonic and toxic) side:

"But the movie doesn’t coast on the strength of the soundtrack alone. There’s something harrowingly poignant about the story that’s impossible to shake off, as opposed to a more vapid disco film like 1978’s Thank God It’s Friday, starring Donna Summer (for which “Last Dance” was written but deeply underused). In 1994, Cohn admitted that his famed New York piece was largely fiction—there was no disco pupil named Vincent, the basis for Travolta’s Tony. Even with the fabrication, Norman Wexler’s adapted screenplay speaks a lot of truth about disenfranchised Brooklyn youth in the ’70s.

Bottom of Form

Under the groovy undercurrent served by spectacular needle drops, the sinister nature of Saturday Night Fever can be felt early on. When Tony and his friends first arrive at 2001 Odyssey, their homophobic, racist, and misogynistic attitudes are revealed through slur-laden chatter. Even though the club scenes are the film’s most intoxicating, they also reveal the grotesquely white and heterosexual appropriation of dance culture.

The feeling that first drove disco—the sense of escapism provided by the club—remains intact, however. On the floor, Tony is no longer a poor paint-store employee, he is an Adonis. Women are happy to merely wipe sweat off his forehead, which you can almost understand given Travolta’s palpable boyish charisma. Many of the characters in this Bay Ridge crowd, especially Tony, show a desire to graduate to a better life, to eventually cross over to Manhattan and become the ideal New Yorker. Tony finds inspiration in pop-culture warriors like Bruce Lee, Sylvester Stallone as Rocky, and Al Pacino in Serpico, whose photos hang on his bedroom wall alongside a crucifix. But he is simultaneously fettered by the expectations of his very Catholic, working-class family; he feels some pressure lifted when his goody-goody brother Frank leaves the priesthood.

The last few minutes of Saturday Night Fever are the most traumatic. Though Tony often shows a stronger conscience than his jerk friends, he is no less a participant in toxic masculinity. He seems to have a breakthrough toward the end when he realizes his victory at the big dance contest is served by white privilege. But the events immediately following turn even darker, as Tony attempts the reprehensible with Stephanie and allows the despicable to happen to another woman, Annette. Very generously, Saturday Night Fever lets Tony off the hook in its epilogue, thus facilitating an inevitable sequel, 1983’s Stallone-directed Staying Alive. Hope glimmers like a disco ball catching the light, the ending seems to say: 19-year-old Tony has his whole life ahead of him, he can still turn it around—on and off the dancefloor”.

The former President of RSO Records, Bill Oakes, spoke with Billboard ahead of the forty-fifth anniversary of Saturday Night Fever – 15th November, 2022 – and discussed its staggering success and enduring popularity. I have chopped a couple of sections from it, though I think that it gives extra insight and layers to this stunning soundtrack. I must have heard songs from it as a child. I think that it is vital to watch the film first. So you get more context into the song. Seeing how they translate to the screen and fit into this wider picture. However, as a standalone album, there is no denying the genius of Saturday Night Fever:

“Other numbers, such as Walter Murphy’s “A Fifth of Beethoven,” MFSB’s “K-Jee,” Ralph MacDonald’s “Calypso Breakdown” and the Trammps’ “Disco Inferno,” had been released prior to Fever but enjoyed renewed popularity when they were included on the soundtrack. They were augmented with instrumental scores composed by David Shire such as “Manhattan Skyline” and “Night on Disco Mountain.” However, not every artist that Oakes sought for the soundtrack came on board — including Boz Scaggs, whose 1976 hit “Lowdown” was initially used in the film’s dance rehearsal scene involving the characters Tony and Stephanie (played by Karen Lynn Gorney).

“I just thought Irving Azoff, who managed Boz Scaggs, would let me have the track,” Oakes remembers. “Why wouldn’t he? Of course, his response to me after we shot the scene was: ‘Bill, I don’t want my artist in your little disco movie,’ which was a phrase that I was assailed with throughout the production. In those days, music artists didn’t really want to be in movies. Now it’s completely different. Artists actually upfront tout their songs to get into a movie because they know how good it is for their sales.”

As he was wrapping up work on the album, Oakes saw something one day that told him the disco trend was on its last legs. “I was finishing up after listening to the tracks for a straight 14 hours for any defects at the mastering lab. And then I put the masters in my car, which would become the album. I was stuck behind a truck [whose bumper sticker said] ‘Death to disco,’ and it dawned on me. I told Robert, ‘We might have missed this one.’ We didn’t coin the word ‘disco’ — disco was around. What [the soundtrack] did was just when disco seemed to be dying, it gave it a new lease on life. We certainly didn’t create disco–we created a real global, across-the-board demand for it. That’s what Fever did.”

Oakes admits that he is surprised by the soundtrack’s longevity decades after the fly-away collars and bell bottoms became passé. “It’s easy to see how it resonates with people who were young at the time. When you go to a party or a wedding anywhere in the world, they’ll still play ‘More Than a Woman,’ ‘Night Fever’ and ‘Stayin’ Alive.’

“’Stayin’ Alive’ is probably one of the most-played songs ever—I get that. What is interesting to me is how is it that young people today are finding it. I think because it is a classic combination of melody and dance. The Bee Gees combined the tune with the dance record. There is something haunting about their hook lines and choruses, which is unique. That’s really down to their music, it’s down to their combining melody with dance and rhythm. I think that’s the combination that still hasn’t been surpassed”.

I will move to a film score for the next part of this series. Psycho will be under the spotlight. I am a big Disco fan so, alongside the Bee Gees classics, we get these amazing composed pieces (score) and heavyweights like Yvonne Elliman and Kool & The Gang all coming together. A masterpiece film soundtrack, I hope this feature has given you an idea of why it is so seminal and influential. We will be playing and discussing this sensational soundtrack…

FOR decades to come.

FEATURE: Always Judge a Record By Its… The Importance of the GRAMMYS’ Inaugural Best Album Cover Category

FEATURE:

Always Judge a Record By Its…

IN THIS IMAGE: The cover of Perfume Genius’s 2025 album, Glory

The Importance of the GRAMMYS’ Inaugural Best Album Cover Category

__________

EVEN though the…

PHOTO CREDIT: Jorge Fakhouri Filho/Pexels

GRAMMYs has more than enough categories already, I did wonder why the album cover was not represented until now. The nominations are out for next year’s ceremony, are out. Category 78 concerns Best Album Cover. Even though there are only five albums included in the category – one would think they’d be more -, it is good that we finally get to shine a light on the art of albums. Below are the nominees:

“CHROMAKOPIA
Shaun Llewellyn & Luis “Panch” Perez, art directors (Tyler, The Creator)

The Crux
William Wesley II, art director (Djo)

Debí Tirar Más Fotos
Benito Antonio Martinez Ocasio, art director (Bad Bunny)

Glory
Cody Critcheloe & Andrew J.S., art directors (Perfume Genius)

moisturizer
Hester Chambers, Ellis Durand, Henry Holmes, Matt de Jong, Jamie-James Medina, Joshua Mobaraki & Rhian Teasdale, art directors (Wet Leg)”.

I am going to expand a bit soon and get to a feature that takes us inside the covers. It is surprising it is such a narrow category. Maybe it is indicative of a lack of genuinely great album covers. However, there have been some good ones this year. I think the cover for Lily Allen’s West End Girl is the best. I do think that artists still undervalue a cover. It is the first thing people see when they buy your album, and yet there are still so many lacklustre examples. I have talked about album art and how it is crucial. I don’t think it is a case of it being expensive to make a genuinely striking and standout cover. Even so, there are few that genuinely stand out. Even though I would replace one or two examples the GRAMMYs have selected and add others, I will highlight the cover I think should win. Though I will highlight an article that gives details about all five covers, there is one that stands out for me.

I do think that this award and new category should give impetus for artists to really consider the importance of the album cover. Even though it is not to do with the sound of an album and not as key, it is still an essential part of any album. Its visual identity and cover. It can tell a listener so much about an album and, as physical music is so in demand, it is as important now more than ever that the cover genuinely stands out. Let’s take a look at all the nominated album covers. Starting out with two very different ones:

“Cover art has always been an integral, visual part of experiencing an album. From photoshoots and creative direction to choices of typeface and color, album artwork adds an additional sensory experience to coincide with the music. And now, for the first time in its 68-year history, album covers are also part of the GRAMMYs.

The Crux, the third album by Joe Keery under his musical alias Djo, is bound by a tangible sense of place. Namely, the hotel of its title, which is filled with guests facing various crossroads of one kind or another in their lives.

Shot on the famed Paramount Pictures studio lot in Los Angeles, the album's cover — which was overseen by art director William Wesley II — brings the fictional Crux Hotel to life, as it teems with guests appearing in the windows of their rooms and passersby rushing to and fro below the building's old-fashioned neon sign. As a small airplane hauls a banner declaring, "I'M SORRY CINDY AND I LOVE YOU" across the top of the frame, Djo himself hangs precipitously from one of the hotel's second-story windows, clad in a white, '70s-style suit.

In a January appearance on "The Tonight Show Starring Jimmy Fallon," Keery revealed some of the inspiration behind the lively, Easter egg-packed cover art. "I've done stuff that's kind of minimalistic before and I just wanted a maximal cover … A theme of the record is 'one of many,' so just having a lot going on and a lot to look at," he said before pointing out the miniscule mouse dressed as the bellman that was included in the shoot "just for me."

Bad Bunny's 2025 album, Debí Tirar Más Fotos, is notable for being the lone cover in this year's pack of nominated albums devoid of any human subject. Instead, the three-time GRAMMY winner — who art directed the cover himself — chose an image of two plastic Monobloc chairs in front of a banana tree to represent the love letter to his native Puerto Rico.

The cover of DtMF, which translates in English to I Should Have Taken More Photos, beautifully captures the essence and natural beauty of Bad Bunny's homeland, where he spent the better part of the summer and early fall performing his sold-out residency at San Juan's José Miguel Agrelot Coliseum.

The image is also punctuated by a palpable sense of longing created by the empty chairs in the foreground, which many fans speculated were a veiled reference to the rapper's past relationship to girlfriend Gabriela Berlingeri, with whom he split in 2022. While Bad Bunny has never publicly confirmed any connection between the cover art and his personal life, the back cover of the album includes a heartfelt dedication to his culture and community in his own words: "This project is dedicated to all Puerto Ricans around the world".

Whilst that first album cover is quite busy and there is a lot to draw the eye, the second is barer and sparse. Both are eye-catching and memorable for different reasons. The Crux reminds me of album covers of old, especially in the 1960s and 1970s, where you would get these collage-like compositions. A lot happening in the frame. The Crux look like a film unfolding. A packed scene where the viewer is looking at an action scene come to life. There are so many things to consider when you have such a layered or full cover. Making sure every person and object stands out and has a place. It can be easy to make it too overloaded or distracting. However, William Wesley II has got the balance just right. You look at the cover and assume it is in America somewhere, but not quite sure where. There is more mystery when it comes to Debí Tirar Más Fotos. Two cheap, white plastic chairs in a clearing somewhere. Maybe chairs that were occupied by two lovers who sat there for peace. That possible personal importance for Bad Bunny and Puerto Rica. It is a mix of the exotic with the mundane or even cheap. Although it is not my favourite of the nominated covers, I can understand why it has been selected. Like a busy and bustling album cover, it is very hard to make sure something emptier or less fulsome stands out. Different dynamics. It is less about multiple focuses and a cast of characters. You have a very defined and concentrated centre. Getting the colour palette right. The white chairs against the browns, greens and yellows.

Before getting to the album cover I think will win, there are two strikingly different ones. The first from a terrific U.S. Hip-Hop/Neo-Soul great. Tyler, the Creator has actually released another album since the cover for CHROMAKOPIA was nominated – though DON’T TAP THE GLASS is not quite as memorable. 2017’s Flower Boy is one of those modern greats when it comes to the cover. Floral, fantastical and bright, it definitely stays in the mind. It radiates sunshine and summer. Conversely, CHROMAKOPIA is sepia, it looks like this film icon of the 1940s or 1950s posing. You look at the image and there are so many questions and interpretations:

“With a catalog of striking, often colorful album covers, Tyler, The Creator opted to appear in sepia on the cover of his eighth studio set, CHROMAKOPIA. The stark portrait depicts the two-time GRAMMY-winning rapper wearing a ceramic mask of his own face, his right hand outstretched toward whomever is behind the camera.

The mask plays several purposes on the cover, mainly to introduce fans to St. Chroma, Tyler's latest alter ego (who bears a marked similarity to Chroma the Great from Norton Juster's classic children's book The Phantom Toolbooth), and tap into the album's themes of identity, authenticity and the divide between public persona and inner self.

According to art director Luis "Panch" Perez, Tyler wanted to channel the film noir of the 1930s and '40s, even bringing a screen test from an unnamed Alfred Hitchcock movie to set as inspiration. "He wanted the cover to feel like it came from a film of that era," Perez revealed in a November 2024 interview with ArtNews.

"It changes how you see Tyler, which was obviously very much a reason why he made it the way he made it," the rapper's longtime visual collaborator added of the eerie cover shot. "It makes the viewer really pay attention to what's going on with him. It makes you want to go, 'Wait, what's going on here? I'm unsettled by what I'm seeing”.

It is an unsettling image, for sure. However, it is one that inspires the mind. Thinking about the artist and the music in a way you would not have if there was a different cover. A less engaging one. I do think that CHROMAKOPIA is in with a shout at scooping the GRAMMY. For me, it is the second-best cover, though one that warrants a lot of love and respect. I am never a fan of self-portrait covers and artists including images of themselves, as it is so lazy and lacks creativity. Also, many of them are just straight portraits and there is nothing unusual or interesting going on. When it comes to CHROMAKOPIA, there is so much to dissect and explore.

I liked Wet Leg’s eponymous 2022 debut album, though I am not struck by the cover. It shows core members Hester Chambers and Rhian Teasdale with their backs to camera and their arms around each other’s backs. However, for their second album, moisturizer, they have stepped it up. I am not keen on the title or the American spelling – though you do wonder why the album was called that -, but the cover has a lot going for it:

“Wet Leg's sophomore album, 2025's moisturizer, marks the band's first studio effort as a quintet with guitarist Joshua Mobraki, bassist Ellis Durand and drummer Henry Holmes joining original duo Rihan Teasdale and Hester Chambers as fully contributing members.

That newly evolved group mentality is also reflected in the British rockers' nomination for moisturizer's feral cover art, with all five members credited as art directors alongside Matt de Jong and Jamie-James Medina.

Teasdale and Chambers take center stage in the artwork, however. The frontwoman stares down the camera with a devilish grin, crouched on all fours, while the lead guitarist's back is to the camera, arms wrapped around herself to show off her pointed nails.

"Not just the album cover, but I think, like, the whole energy of the creative is kind of subversive," Teasdale explained to Variety upon the album's release. "Like, if there's any moments on there that are a bit sexy, it's also a bit disgusting. Juxtaposition is something that we've always done … That's something that is always fun to play with”.

Once more, Hester Chambers has her back to camera. Representing being a mystery or in the background, she has her arms gripped around her body. Whether signifying a struggle, madness or a clinch (how you can pretend you’re kissing someone by wrapping your arms around your back like it is another person doing that), it is this submissive or romantic background set against the more maniacal or distrusted look given by Rhian Teasdale. Even though Wet Leg are a quintet now, it is their original two members who are at the centre here. Also, I am curious about the image and the connection to the title. It is hard to draw comparisons or figure the link. Which sort of makes the cover more intriguing! Also, the use of white and blue for the cover. It is quite calming and soothing, clashed against the intense flame of red hair and red lips at the centre.

Consider iconic covers from the past and contemporary artists and you do wonder how many artists reach these peaks. Whether the album art market is declining or less important. I think that great album covers are so important. The album cover that I feel will win the GRAMMY is from Perfume Genius. In terms of matching the music and lyrics, the cover for Glory is one of the standouts of the year:

“Over the course of his career, Perfume Genius has appeared as a near-statuesque figure on many of his album covers, from the polished portraiture of 2014's Too Bright and shirtless still that graces the cover of 2020's Set My Heart on Fire Immediately to the painterly rendering of 2022's Ugly Season.

In the imagery for 2025's Glory, the art-pop auteur born Mike Hadreas is shown toppled over, sprawled on the floor of a wood-paneled home with his legs askew and midriff bare as a bevy of extension cords run beneath his body. In a conversation with Wallpaper upon Glory's release, Perfume Genius delved into the creative process behind the unnerving suburban scene, which was directed by his longtime collaborators Cody Critcheloe and Andrew J.S.

"I like how it looks: it could be a dance, or it could be that I'm sick, and there's something wrong with me. That was the thing that felt riskiest about that photoshoot, it could go any way," he told the outlet. "When we got the pictures back, it felt like a snapshot, almost like a still from a movie … It feels like the music, in that it's earnest and personal, but with absurdity and dramatics, and performance”.

That image of Perfume Genius (Michael Hadreas) on the floor. It looks like he has tripped. Or is just asleep on the floor. With wires on the floor, there are trip hazards. It looks like two different scenes. The window looks out, though it is a ground floor room and it doesn’t seem to fit with what’s outside. You imagine this house being somewhere remote or in the city, yet the outside seems to be suburban. The mysterious man looking from the outside in. The friend or compatriot of Perfume Genius looking on as he is in this contorted position. Did Perfume Genius fall from the outside in? And, if so, how and why? You look at the cover over and over and try and figure it out. Such an arresting shot and composition, it is an award-winning effort from Cody Critcheloe & Andrew J.S. A rare case of album artwork being as discussion-worthy and brilliant as the music inside. It will be interesting who wins the inguinal Best Album Cover GRAMMY on 1st February. More than anything, I hope the category grows – in terms of nominees – and artists take it as motivation to really put everything into their covers. It is a subjective measure, what makes a great cover, though there are too many faceless and unambitious efforts. The five highlighted above all have their own personality and feel. Each different and remarkable. There have been album covers made in the past five or ten years that can rival the all-time best, yet most of the very best are from decades ago. However, there is nothing to say that very soon we will not get a wave of stunning covers that are…

PHOTO CREDIT: Anastasiya Badun/Pexels

MODERN classic.

FEATURE: The Best Albums of 2025: Jehnny Beth – You Heartbreaker, You

FEATURE:

 

The Best Albums of 2025

Jehnny Beth – You Heartbreaker, You

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I am almost halfway…

PHOTO CREDIT: Johnny Hostile

through my run of features where I celebrate and recognise the best albums of this year. Some of my favourites in there. One of the punchiest and most economical albums of the year, I want to shine a spotlight on Jehnny Beth’s You Heartbreaker, You. Prior to getting to a couple; of reviews who herald an explosive album that is loud, raw, primal and extraordinary, there are some interviews I want to bring in. Highlighting You Heartbreaker, You as “an album to surrender to, to become obsessed with, to play so loud it's painful”, I want to start out with 15 Questions and some of the questions they posed. If you have not heard this incredible album, then make sure that you do:

“For you to get started, do there need to be concrete ideas – or what some have called a 'visualisation' of the finished work? What does the balance between planning and chance look like for you?

It needs to be a necessity and I nurture that feeling every day to keep it alive. It’s not work, it’s not a hobby, it’s a way of living.

Being inspired is far better than being ok - and the only way I can exist in this world.

Is there a preparation phase for your process? Do you require your tools to be laid out in a particular way, for example, do you need to do 'research' or create 'early versions'?

You just need to do it, without judgement. Wake up, do it, decide later. It’s not as complicated as it seems.

And also take breaks, enjoy your life. You don’t have to work 3 hours straight to be productive, this is not office work.

For You Heartbreaker, You, what did you start with? If there were conceptual considerations, what were they?
The idea of the new record came as I was onstage in America.

We were playing a metal/hardcore festival called aftershock and the connection with the audience was so intense and real, I made a mental note to write a record with that energy in mind.

Tell me a bit about the way the new material developed and gradually took its final form, please.

I asked Johnny Hostile to start writing new music on guitar again. I knew he was an incredible guitarist but he became a real riff machine.
When I started hearing all those intense heavy riffs, I felt immediately inspired and I knew we were on the right path.

After finishing a piece or album and releasing something into the world, there can be a sense of emptiness. Can you relate to this – and how do you return to the state of creativity after experiencing it?

I don’t really relate to that feeling. Creating is part of my life and it never ends.
Moments I am not creating per se, I am living and collecting inspirations. The only emptiness I have experienced in my life was related to loss.  

I would love to know a little about the feedback you've received from listeners or critics about what they thought some of your songs are about or the impact it had on them – have there been “misunderstandings” or did you perhaps even gain new “insights?”

Straight from the beginning when we released the first song “BROKEN RIB” the responses from fans have been incredibly positive. Everyone seems to need a loud guitar record right now (I know I do!).
Personally I think it is the best work I have ever done”.

I will move to an interview from Music Week. I have been a fan of Jehnny Beth since her Savages days, and I love everything she puts out into the world. On You Heartbreaker, You, she has released this wonderful work. Not as covered and highly-rated as I think it deserves, there is no denying You Heartbreaker, You can stand alongside the best and most powerful albums of this year. Definitely one of my picks from 2025. A masterful work from an astonishing songwriter:

“It’s been five years since your last solo album, why is now the right time for a new Jehnny Beth record?

“To make a record, it has to itch so hard that there’s nothing you can do but do it. We’ve been touring a lot; we played massive stadiums with Depeche Mode in Europe, and Queens Of The Stone Age in America. We also did some hardcore metal festivals where Korn or Tool would be headlining. I was on stage, and suddenly I had a vision of what this record was going to be. I knew I wanted it to start with a scream, which it does. The times are really absurd; it’s an insane time and I feel insane. Everything’s broken and we need music to bring it back together.”

How did You Heartbreaker, You come together from a musical standpoint?

“We had one rule in the studio, which was: ‘If we’re bored, we delete it.’ Boredom is the last thing you want people to feel; it’s a waste of their money and time. You don’t want to waste time getting people to understand your feelings – they don’t really give a shit. It needs to hit straight to the point and not take detours.”

The album is coming out via Fiction, which is owned by Universal but operates as an independent. What does independence mean to you?

“Independence is whatever’s in the contract – that’s where your independence is. You can have really hardcore artist contracts with independent record labels where they take a lot, or you can have licensing deals that free you very quickly. I look at the contracts and not necessarily which house they’re in.”

As a solo act, how are you navigating the rising costs of touring?

“Times are definitely harder compared even to 10 years ago, but I’ve always been into the mentality of doing it yourself as much as you can. The responsibility falls on the artist more and more to multiply your sources of income so you can survive. I don’t give a fuck about becoming a millionaire, but you need to survive because that’s the only way you can keep creating. [The problem is] all the way from pay-to-play, to bands who’ll [only] pay you €500 to support them in a stadium. There’s a responsibility for [bigger] artists and management and the streaming services [to offer help]”

Let’s get to one mor interview before we get to some reviews. DIY observed how Jehnny Beth was moving away from the more collaborative aspects of her early career. You Heartbreaker, You is far more stripped back and singular. This incredible artist making sure that her voice is front and centre:

“The album was forged in the brutal habitat of its creator’s own narrowing attention spans, a topic explored on ‘High Resolution Sadness’ - “I wanna take it all in / I wanna put down the screens,” she screams over a thrashing instrumental. “I’m like everyone. I’m a doom scroller,” she admits. “I get swallowed into the vortex. Some parts of it I like. My Instagram wall is full of comedy and food stuff. Our number one rule was if we’re bored, we delete.”

That manifesto was penned ritually, ahead of Jehnny’s creative pursuits, ‘Don’t bore me’ becoming a mantra of sorts in the studio. “The music knows better than you know, and you have to get really good at listening, paying attention to what the world you’re creating is feeding back to you. You juggle subjectivity with objectivism. It’s a tricky balance. I don’t write songs to fix my own problems. I think songs are conversations. Songs are addressed to the world. It’s like in any conversation: don’t bore me, I don’t like small talk.”

It appears this restless nature extends beyond music too. Keen-eyed observers of Netflix would have spotted Jehnny in ‘Hostage’, a political drama starring Suranne Jones. It marks her first acting work outside her native France (where she featured in 2023’s broadly acclaimed Anatomy Of A Fall); now, having recently done a three week shoot in Brazil, she’s on the cusp of filming another movie back home.

“I try to do both. I’m always happy to sacrifice film for music because music is my art,” she says. While she doesn’t identify many crossovers between the creative acts - she turns down any musician roles offered to her - dialogue from the silver screen often bleeds into her writing. “Even ‘You Heartbreaker, You’ could be a line from a movie. I think that in songs, the more personal, the more people like it. And sometimes it’s true. Writing a song is kind of similar to writing for a character. It’s a perspective.”

This weaving between disciplines recalls another one of her Instagram proverbs - ‘There are many versions of yourself, just make sure they all get the right shoes’. “Well, right now I’m barefoot,” she laughs. “That’s really true though. I used to wear stilettos in Savages. We were afraid of being caught by the fashion police and not taken seriously as musicians because we were women. The only thing I would allow myself would be interesting shoes”.

I will wrap with a couple of reviews. CLASH provided some interesting observations about You Heartbreaker, You. An album that is freeing, cathartic and designed to allow the audience to scream, it is perfect for these times. Rather than it being too heavy or foreboding, instead, You Heartbreaker, You is motivating and energising. It definitely engages all the senses and provokes so many different reactions:

“Jehnny Beth returns with her second solo album, ‘You Heartbreaker, You’, out via Fiction Records. The new album follows on from 2021’s ‘Utopian Ashes’ with Primal Scream frontman Bobby Gillespie, which took listeners through the slow parting of a married couple, as they revel in the loneliness of a failing love. ‘You Heartbreaker, You’ is starkly different.

On the album, Beth says, “We’re living in a dark time, full of drama and barbarous tragedy. It became clear to me that, in these times, we either learn how to scream really well, or we learn how to whisper.” In ‘Broken Rib’, Beth wants us to scream, as she sings, “we learn to breathe with a broken rib,” insinuating that screaming is exposing, but eventually the anger will feel directed and natural, the same way as it is the social norm to whisper politely.

‘Broken Rib’ is followed by ‘No Good For People’. With electronic elements, the track is reminiscent of Nine Inch Nails. Beth was inspired to write the track after re-watching True Detective, the decorated American police drama about tackling internal corruption. On what inspired the track, Beth says, “There’s a scene at the end where the character played by Matthew McConaughey says that he can be hard to live with: ‘I don’t mean to, but I can be…critical. Sometimes I think I’m just not good for people… I wear them down”. It spoke to me because it questions the inability to coexist with others and the delicate balance where the truth can be heartbreaking.”

The following tracks – ‘Obsession’, ‘Out of my Reach’, and ‘I Still Believe’ – are punchy. ‘Out Of My Reach’ has a deeper guitar sound, sewn by Beth’s assertive vocal, stylistically similar to Deftones. ‘I Still Believe’ has a post-punk sound, but from a more powerful stance. The track is brooding and creeps up on you as a listener.

‘Reality’ begins with the sound of glass shattering, capturing immediate attention as well as carrying the album’s theme of feeling disillusioned by the state of the world, lovelessly professing “We want love like it happens in a dream,” showing how we chase romance, despite deeper anger, which could be translated into passion. ‘Reality’ extends into the following track, ‘Stop Me Now’.

Beth sings with full angst, but there is something cathartic about the uneasy sound. Forebodingly accompanied by a creeping guitar sound, she repeatedly sings, “How many years are we going to last?” She then ends the song saying, “Nothing can stop me now.”

This transcends into ‘High Resolution Sadness’ which is paced like a panic attack, driven by a janky, anger-filled drum sound. The track is similar to PJ Harvey’s haunting ‘Down by the Water’ as Beth whispers, “Put down the screens,” and progresses into a slightly unhinged vocal, frequently singing, “I want to feel love.”

The closing track, ‘I See Your Pain’, is noticeably slower and draws more attention to her almost isolated, static-y vocal, accompanied by a quiet but deliberate guitar strum, escalating into a crashing vocal as she sings ‘I See Your Pain’, sometimes sang clear and strongly, other times, closer to the end, sang exorcising and free.

‘You Heartbreaker, You’ is a release to listen to. Despite the industrial and slick sound,the purity in Beth’s voice outshines the sheen that drapes over the album. Beth’s voice might be confronting at first, but over the course of the album the frustration becomes contagious, proving that anger is not something to be frightened by.

7/10”.

I am ending with a review from Kerrang!. I will have to go and see Jehnny Beth play very soon, as she is one of my favourite artists. You Heartbreaker, You is one of the standout albums of this year. One that definitely lodges in the mind. Even if it nine songs and lasts less than half an hour, it does everything it needs to in that time. Other artists can take note of its economy and effectiveness:

“Primal. If you were to boil the energy of Jehnny Beth’s second solo album down to a singular word, that would be it. It’s primal in multiple dimensions – confrontational, sexual, alight with a revolutionary spark – all made possible by an approach that feels proudly organic, unvarnished, even. Whatever guise the ex-Savages vocalist chooses to assume, she is fearless about it.

To start with, we re-encounter Jehnny when her spirit is bruised. Nonetheless, you can sense her grit her teeth and stagger forwards on opener Broken Rib, a tense, discordant beast of a track where her pain is as acute as a shard of glass pressed into the wrist. Later, No Good For People, in which she laments the way ‘I wear you down and you get unhappy’, does harsh maximalism with class, while Obsession pushes that sound further into something more twisted and strange, lending a creeping undertone to her plea of, ‘I don’t know why I’m so girly / I’m desperate to know when we will be together.’ Out Of My Reach is simultaneously dense and straightforward, shifting its feet between wavering, weird verses into a simple yet effective, and no less massive, chorus.

In its second half, things get noisier. Reality sees her move from a purr to a bark and back again in an ode to queerness, sex and polyamory – ‘Did not mean to hurt you when I said / I’d like you and your man in my bed.’ Meanwhile, High Resolution Sadness rattles and rolls in a battle cry for unplugging and living large, and Jehnny’s whisper of ‘Put down the screens’ certainly is a compelling command. Closer I See Your Pain slows down and assumes a moodier, more dramatic tone as she contemplates the blurry line between calling out performative action and demanding moral purity. ‘We want our heroes to be pure / Your heroes to be insecure / Everyone’s so strange,’ she sings.

In a time where it seems everyone wants to make noisier music as an act of defiance against an increasingly cruel world, Jehnny Beth has found a way to stand out. She’s real, she’s raw, and everything here has such a strength of spirit to it that it feels truly alive.

Verdict: 4/5”.

A remarkable album from the divine Jenny Beth, go and check out the stunning You Heartbreaker, You. Following her debut solo album, 2020’s TO LOVE IS TO LIVE, I think that she has delivered her finest work to date. I do wonder where she goes next and what another album might sound like. A seemingly limitless artist, Jehnny Beth could do a complete left-turn. However, on this gem of an album, she provides something truly special. An album that…

EVERYONE needs to experience.

FEATURE: A Shining Light: How Kate Bush Is Inspiring Progressive and Amazing Women Pushing Pop Forward

FEATURE:

 

 

A Shining Light

IN THIS PHOTO: Kate Bush photographed in 1980/PHOTO CREDIT: John Carder Bush

How Kate Bush Is Inspiring Progressive and Amazing Women Pushing Pop Forward

__________

WE know that…

IN THIS PHOTO: ROSALÍA/PHOTO CREDIT: Alex G. Harper for Billboard

ROSALÍA is a fan of Kate Bush. She gave Bush a shoutout in 2018 at the Latin GRAMMY Awards. I know that ROSALÍA is inspired by other artists and it is not only Kate Bush who she looks up to. However, in 2018, she did give this salute to someone whose influence is burning bright to this day. Even though the speech was over seven years ago now, I do think you can bring it up to date:

“The 19th Latin GRAMMY Awards were a big night for Spanish rising star Rosalía. The singer, who is recognized for bringing Spain's flamenco music to the world stage, won her first-ever GRAMMY awards and used her acceptance speech for the Best Fusion/ Urban Interpretation category to thank the women who blazed a trail for her own career.

"This is incredible. It's a dream. Thank you so much for all the love, thanks all of you for the recognition, I am proud to lead my project and make always the music that represents me, despite the risk, and to be able to share it with the world and be here," she said." I want to thank women like Lauryn Hill ...Bjork, Kate Bush ... shout out to all the women in the industry that have taught me that I could do this because thanks to them I am here”.

This brings us to now and ROSALÍA’s new album, LUX. Without doubt one of the greatest albums of this decade, it will top many best-of-the-year lists. Not that ROSALÍA is typically ‘Pop’, though she is a popular artist and someone whose sound and direction has shifted vastly for LUX. Bringing in Opera and Classical, it is this huge, sweeping and hugely effecting album. It is hard to choose the best songs from the album, as it is all incredible and the work of a genius. I really love Reliquia and the single, Berghain.

To me, there is quite a lot of Kate Bush running through LUX. Also, you can hear Björk’s influence but, as Björk is hugely influenced by Kate Bush, I can circle back to Bush and her affect on ROSALÍA. Not to say that LUX is entirely a tribute to Kate Bush, yet I hear shades and aspects of her albums in this one. In terms of the vocal sound, which is quite operatic but also beautifully expansive, sweeping, tender and almost bird-like at times, I get hints of Bush’s early work like The Kick Inside and Lionheart (both from 1978). This is a period Kate Bush is not entirely fond of, as she does not feel those albums truly represent her. She got a lot of ridicule and press criticism around this period. However, I can feel these albums work their way into LUX. The biggest Kate Bush connections I feel are to do with The Dreaming (1982) and Hounds of Love (1985). In terms of the scope and genius of LUX, my mind goes to Hounds of Love. The Dreaming is an album that more and more people are discovering. Some critics at the time felt it was too experimental and weird. Bush adopting different accents ands vocal mannerisms. Some of the songs being quite heavy, experimental and layered. Her vocals, at times, almost operatic and intense. It is not a ridiculous theory to suggest that this 1982 masterpiece has a bearing on LUX. Björk love that album too. I thought, when Berghain was released, that it was connected to The Dreaming. In the sense it was a wonderful female artist pushing Pop. Doing something genuinely different. Even though Bush did not do anything Opera or Classical as such, The Dreaming was a radical departure from what she did before. The same with ROSALÍA. However, unlike Bush in 1982, LUX has received nothing but glowing praise. There are some snobs who wonder if ROSALÍA should be bringing Opera into Pop. Elitism still very much alive today. It is not such a leap to feel the bones and blood of Kate Bush in this modern masterpiece. As much as I have said a Kate Bush/Björk collaboration would be immense, you feel a Kate Bush/ ROSALÍA one would be just as good! However, if Bush does grace us with another album, you feel any collaborations she undertakes will be with male artists (and I hope Peter Gabriel is one of them!).

This is not the only modern queen that you can feel is a fan of Kate Bush and recognises her influence. I am a fan of Charli xcx and her latest direction reminds me too of an album like The Dreaming. Maye earlier Kate Bush work than that. Think about the new track, House, with John Cale. I get impressions of Get Out of My House and Pull Out the Pin. I mean, the new songs she is releasing are for the soundtrack to Wuthering Heights. Impossible not to connect that to Kate Bush’s 1978 single of the same name. Charli xcx posted a TikTok video with Bush’s debut single playing. Since her earliest days, Charli xcx has said she is a fan of Kate Bush. Consider this 2013 Billboard article, where we get a quote from Charli xcx about Kate Bush and album of hers that is specially influential:

“Charli XCX: “The album ‘The Sensual World’ is one of the records that defines me. I think the album artwork is amazing — it’s one of my favorite album artworks ever. She’s smelling the rose, she’s got the rose in front of her face, and I think it’s so beautiful. I just love the production of that whole record, the way that her vocals sound. Everything about it is so dreamy. I think my favorite song on it is ‘Heads We’re Dancing'”.

I wouldn’t have pegged Charli xcx to be a fan of that 1989 album. However, I feel in the years since she mentioned that Bush classic, she has been listening to The Dreaming, Hounds of Love and The Kick Inside. The more spectral nature of Wuthering Heights and the intensity in various songs from The Dreaming. However, a new track like Chains of Love could have easily come from a Kate Bush album like The Sensual World. If there was a new podcast or documentary about Kate Bush where modern-day Pop legends and icons discussed Kate Bush, you would like to imagine, ROSALÍA and Charli xcx would contribute.

@charlixcx

hope you enjoy! xx

♬ Wuthering Heights - Kate Bush

Another year-best album came from Florence + The Machine. Everybody Scream has elements of Charli xcx’s darker music. The same intensity and gothic horror you get from House. However, I feel Everybody Scream is more personal. However, given that Everybody Scream includes some witchiness and gothic influence, reviews have mentioned Kate Bush. The Observer noted this:

“Into this zeitgeist lands the sixth album by Florence + the Machine. Florence Welch is already something of a millennial Wiccan recruitment officer, and this record arrived on Halloween, brandishing spooky season themes and gleefully dialling up the witchiness of her work, often with tongue in cheek. There are tracks called Witch Dance and The Old Religion; two songs already released – Sympathy Magic and the title track – come with videos set on windswept moors, revelling in references to Brontë and Kate Bush. There are echoes of Welch’s last album, Dance Fever, in callbacks to ideas of possession and catharsis”.

One can see Kate Bush’s influence in the earliest Florence + The Machine work. However, you can still feel it shining today. Again, The Dreaming making its presence felt. A lot of Kate Bush’s earliest work. The i Paper did make a mention of Kate Bush in their review of Everybody Scream: “Welch, it is true, loves her hokum as much as anyone. Since arriving in 2009 with her Kate Bush-goes-indie debut Lungs, her music has pulsated with a theatrical and elemental power – with melodrama and sometimes even a hint of the pantomime”.

This Reddit post observed that the video for Florence + The Machine’s Everybody Scream puts one in mind of the Red Dress version of Kate Bush’s Wuthering Heights. Whether taking from The Dreaming or indeed The Kick Inside, there are several albums from this year that have Kate Bush in the mix. Wider afield, there are modern artists like Japanese Breakfast that have been compared to Kate Bush. Quite a few in fact. It would be interesting to get an exhaustive list. However, as we are discussing progressive and year-best artists/albums, there are other artists one can mention. When Dua Lipa released Houidini in 2023 I was one of many who noticed the Kate Bush connections. The key in her mouth for a promotional image is very similar to the cover of The Dreaming. On that album, Bush recorded a song called Houidini. Even if it is harder to see Kate Bush’s sound in Dua Lipa, she is definitely influenced by Bush. “How can we explain the success of this 26-year-old who, just five years ago, was still working at a donut shop in Los Angeles, ready to give up on the music world? First, there are her songs: tales of unrequited lesbian heartbreak, queer anthems drenched in synthesizers and sweeping choruses sung in high notes worthy of Kate Bush, such as Good Luck, Babe!, her biggest hit to date, with more than 1.5 billion streams on Spotify”. These words were including in an article from the summer about a modern artist rewriting the Pop rulebook. This 2024-published Substack post states how Chappell Roan is a Kate Bush-like Pop threat. This extraordinarily inventive and original artist.

FKA twigs and MARINA also are influenced by Kate Bush and have released phenomenal albums this year. Despite not mentioning Kate Bush as an influence, you can feel that Sabrina Carpnter is inspired by her. The stagecraft and Carpenter’s sets. They out you in mind of Kate Bush at time. Also, some terrific albums of this year from artists as varied as Lady Gaga and CMAT, one feels, carry a bit of Kate Bush with them. Both of those artists are fans of Kate Bush. I have mentioned before how Taylor Swift, whilst not as rule-breaking and progressive as artists I have mentioned earlier, is undoubtably the biggest artist in the world. The cover for her new album, The Life of a Showgirl, puts one in mind of Kate Bush’s Hounds of Love back cover, where Bush pays homage to Ophelia. You can read more about Kate Bush’s Hounds of Love and some literary and poetic influences here. There is a song on The Life of a Showgirl called The Fate of Ophelia. Many have noticed how Taylor Swift’s Anti Hero – from 2022’s Midnights – has a striking resemblance to Kate Bush. No doubt this global megastar is indebted to Kate Bush. Some of the most influential, progressive and forward-thinking albums of this year reinventing and pushing Pop have been influenced by Kate Bush. Not only female artists. I hear Kate Bush’s impact on artists such as Perfume Genius and Jacob Alon. Maybe a lot of the Kate Bush resemblance and influence has come from events like Stranger Things putting Running Up That Hill (A Deal with God) – from Hounds of Love – back on the charts in 2022. However, the fact albums like The Dreaming and The Kick Inside spring more to mind, you feel that artists have been digging deeper and not going for the most obvious (and celebrated) Kate Bush album. It is wonderful to hear! One wonders which albums and artists will carry Kate Bush’s torch next year. Bush herself might even release a new album soon! For anyone who wonders whether Kate Bush has any influence today and is relevant, you only need to listen to new work from ROSALÍA, Florence + The Machine and FKA twigs to know that it…

IS burning brightly!

FEATURE: An Expanding Streaming Market: Looking to a Future Without Spotify

FEATURE:

 

 

An Expanding Streaming Market

PHOTO CREDIT: Pavel Danilyuk/Pexels

Looking to a Future Without Spotify

__________

THIS is a bit…

PHOTO CREDIT: Samuel Boivin/NurPhoto/Shutterstock

of an old story that The Guardian ran last month. However, I think that it is relevant to bring it in as we head to the new year. I use Spotify all of the time. However, more and more, there is this guilt regarding the very low amount artists earn from streaming. How the algorithm is set up for larger artists and there are plenty of flaws. It seems that Spotify are more concerned with changing their site and adding features and less so without rectifying issues. I don’t think artists will get a noticeably better deal next year. Earlier this year, Massive Attack removed their music from Spotify in protest of Spotify’s CEO, Daniel Elk’s investment in A.I. military. Other artists are following suit. I know people who have stopped using the streaming platform because of this. It adds another layer of complexity and negativity to Spotify. It does get to me. I am not especially beholden to Spotify. I use it because of the access and vast choice of music. I like to make playlists and embed them in features. I find that alternative sites do not offer that function. However, the more options coming onto the market means Spotify may one day be overtaken and replaced. People flocking to their competitors. Nina Protocol, Cantilever and Subvert might seem niche and names you have not heard. However, they are providing alternatives. As Nina Protocol’s Chief Executive Mike Pollard says in the article, the future of music streaming is independent. An experienced that should be above benefiting artists. More curated and fairer:

“The noise around Spotify this year has been louder than ever, from Liz Pelly’s book Mood Machine – a biting indictment of the company and its alleged practices, described as “error-riddled theories” by Spotify itself – to a slew of indie artists leaving the platform due to political and ethical reasons. There was even a recent music forum in California called Death to Spotify.

So the timing is fortuitous for a growing number of independent streaming and music community platforms, such as Nina Protocol, Coda, Subvert, Lissen, Vocana, and just last week a new one launched in the UK: Cantilever. “More people are definitely looking for alternatives,” says Nina Protocol’s chief executive Mike Pollard. “We strongly believe the future of music is independent.”

Each of the new platforms have unique identities. Nina Protocol uses an open public network, where artists set their terms and keep 100% of any revenue from downloads; the collectively owned Subvert is intended to be an alternative to Bandcamp, where music files are bought and sold. Cantilever takes inspiration from curated film streaming platforms such as Mubi, offering a limited and rotating number of albums at a time (currently 10, but up to 30).

IN THIS PHOTO: Author Liz Pelly/PHOTO CREDIT: Felix Walworth/One Signal Publishing 

What unites them is curation, a sense of community and an artist-friendly, anti-corporate model. “We think a lot about the dignity of releasing music,” says Pollard. “I don’t think these algorithm-driven reasons for why something’s getting played are very dignified: are you just something that sounds like something they already like? An artist may say, ‘one of my songs did well on Spotify because it was put in the most popular sleep playlist’. But maybe the 500,000 people who listened to that track weren’t even awake! And how many of those people know your name, care about you or would buy a ticket to a show?”

Many of these new services also have written articles and editorial, intending to offer contextual deep dives for a more focused listening experience. “It’s like a music magazine you can listen to,” says Cantilever’s Aaron Skates, an ex-record label worker and music writer who has launched the streaming platform. Skates has managed to pull in an impressive list of independent labels to work with too, such as Warp, Ninja Tune, Domino and Beggars Group labels such as Rough Trade, 4AD and Matador.

By having a smaller roster of artists, it means they receive more money. “The pool is far less diluted,” Skates says. “We’re paying out a maximum of 30 artists for all subscriber revenue, versus the 100m tracks on Spotify. Also, we pay on a user-centric basis, so that means your fee will only ever go towards the music that you actually listen to.” Skates gives me an example: if Cantilever was to get 10,000 subscribers at £4.99 a month, that would result in albums on the service receiving £2,000-3,000 each, which he says is “roughly the equivalent of a million Spotify streams”.

“There’s a growing awareness of how slop-filled everything is getting,” he says. “People are wanting a little more control of what they consume.” He gives the example of users leaving X, formerly Twitter: “They realised, ‘Shit, I don’t need to be here any more.’ Then you understand what it feels like to be more intentional about your choices, instead of just being on everything that you’re told you need to be on to exist. I think people are waking up”.

Even though Qobuz do not allow users to embed playlists into sites like Squarespace – something that is a huge negative from my perspective -, they are another streaming platforms that could be a viable alternative to Spotify. I do want to come away from Spotify at some point next year. The benefits of the platform is that there is plenty of choice when it comes to new and legacy artists. I do like how you can discover so much through the site. Also, in terms of being able to shares mixes, playlists and albums, it is very convenient and easy. However, I do realise that there are ethical and moral reasons to boycott Spotify. Also, one can use Spotify and another platform. I think all of the alternatives have their drawbacks, though with time, you feel like there will be other sites that offer everything. I can understand why people are leaving Spotify. Artists are getting a raw deal. In a feature from earlier this year, the BBC reported ow Spotify paid a record £7.7 bn in royalty to artists. However, we are still hearing about how little that amounts to for smaller or independent acts:

“Spotify said more than two-thirds of all music revenue goes "straight to the recording and publishing rights-holders", and added that, like other streamers, Spotify does not pay on a per-stream basis.

The annual figures were published in Spotify's Loud and Clear report - part of the company's aim to provide transparency on how it pays the music industry.

The amount Spotify paid this year was an increase on the more than $9bn (£7bn) it handed over in 2023.

The report highlighted that the number of artists generating annual royalties between $1,000 (£770) and $10m had tripled since 2017.

Taylor Swift was named Spotify's top artist globally with more than 26 billion streams, in the year she released her double-length album The Tortured Poets Department: The Anthology”.

Whilst it may not be ideal for people like me – journalists who rely on affordability and include a lot of music in my features – to rely purely on physical music, there are people finding it quite freeing. This article is quite illuminating. Criticism against Spotify including a lot of A.I. music on its site. Audiobooks taking money away from artists. Artists still not able to earn anything substantial from streaming revenues.

I am going to end with this feature from The Guardian from October. How a new wave of boycott means that others will rethink their connection with Spotify. It is quite hard to detach from the platform and completely switch off. However, as there are alternatives coming through that have a different business model, it may make things easier next year. For me, if artists were played more and no functionality was lost coming off Spotify, it may be worth the switch:

“Artists have long complained about paltry payouts, but this summer the criticism became personal, targeting Spotify’s billionaire co-founder Daniel Ek for his investment in Helsing, a German firm developing AI for military tech. Groups including Massive Attack, King Gizzard & the Lizard Wizard, Deerhoof and Hotline TNT pulled their music from the service in protest. (Spotify has stressed that “Spotify and Helsing are two separate companies”.)

In Oakland, California, Stephanie Dukich read Mood Machine, heard about the boycotts, and was inspired.

Dukich, who investigates complaints against the city’s police, was part of a reading group about digital media at Bathers library. Though she is not a musician, Dukich describes herself, along with her friend and art gallery worker Manasa Karthikeyan, as “really into sound”.

She and Karthikeyan decided to start similar conversations. “Spotify is enmeshed in how we engage with music,” Dukich says. “We thought it would be great to talk about our relationship to streaming – what it means to actually take our files off and learn how to do that together.” Death to Spotify was born.

The goal, in short, was “down with algorithmic listening, down with royalty theft, down with AI-generated music”.

Karthikeyan says the responsibility of quitting Spotify lies as much with listeners as artists. “You have to accept that you won’t have instant access to everything,” she says. “That makes you think harder about what you support.”

But will either musicians or listeners actually have the nerve to actually boycott the app longterm?

Several famous musicians have pulled their catalogues from Spotify with big, headline-grabbing announcements over the years, only to quietly come crawling back to the platform after some time. One of the app’s most popular artists, Taylor Swift, boycotted the service for three years in protest of its unfair payment practices but returned in 2017. Radiohead’s frontman. Thom Yorke, removed some his solo projects for the same reason in 2013, calling Spotify “the last desperate fart of a dying corpse”; he later put them back.

Neil Young and Joni Mitchell left the app in 2022, citing the company’s exclusive deal with anti-vax podcast host Joe Rogan; both Canadian singer-songwriters contracted polio as children in the 1950s. They, too, later restored their catalogues on Spotify”.

I use Spotify a lot and know how handy it is for what I do. At the back of my mind, there is this conflict. Whether it is right of justifiable using the platform in 2025. I will have to have a think as we head our way into 2026. I am looking at the options out there and seeing if any provide everything I need. Otherwise, I will have to subscribe to more than one streaming platform. Whereas in the past the only other options were there massive sites like Amazon Music, Deezer, Tidal or Apple, there are these upcoming and independent platforms that are growing. It is encouraging knowing that there…

ARE alternatives around.

FEATURE: The Great American Songbook: The Byrds

FEATURE:

 

 

The Great American Songbook

The Byrds

__________

ON this visit…

to The Great American Songbook, I am focusing on one of the all-time best American bands, The Byrds. They were formed in 1964 in Los Angeles. The original line-up included Roger McGuinn (lead guitar, vocals), Gene Clark (tambourine, vocals), David Crosby (rhythm guitar, vocals), Chris Hillman (bass guitar, vocals), and Michael Clarke (drums). Before getting to a twenty-song mixtape of their mist essential tracks, I want to bring in some biography from AllMusic:

“Although they only attained the huge success of the Beatles, Rolling Stones, and the Beach Boys for a brief period in the mid-'60s, time has judged the Byrds to be nearly as influential as those groups in the long run. They were not solely responsible for devising folk-rock, but they were certainly more responsible than any other single act (Dylan included) for melding the innovations and energy of the British Invasion with the best lyrical and musical elements of contemporary folk music. The jangling, 12-string guitar sound of leader Roger McGuinn's Rickenbacker was permanently absorbed into the vocabulary of rock. They also played a vital role in pioneering psychedelic rock and country-rock, the unifying element being their angelic harmonies and restless eclecticism.

Often described in their early days as a hybrid of Dylan and the Beatles, the Byrds in turn influenced Dylan and the Beatles almost as much as Dylan and the Fab Four had influenced the Byrds. The Byrds' innovations have echoed nearly as strongly through subsequent generations in the work of Tom Petty, R.E.M., and innumerable alternative bands of the post-punk era that feature those jangling guitars and dense harmonies.

Although the Byrds had perfected their blend of folk and rock when their debut single, "Mr. Tambourine Man," topped the charts in mid-1965, it was something of a miracle that the group had managed to coalesce in the first place. Not a single member of the original quintet had extensive experience on electric instruments. Jim McGuinn (he'd change his first name to Roger a few years later), David Crosby, and Gene Clark were all young veterans of both commercial folk-pop troupes and the acoustic coffeehouse scene. They were inspired by the success of the Beatles to mix folk and rock; McGuinn had already been playing Beatles songs acoustically in Los Angeles folk clubs when Clark approached him to form an act, according to subsequent recollections, in the Peter & Gordon style. David Crosby soon joined and they made a primitive demo as the Jet Set that was nonetheless bursting with promise. With the help of session musicians, they released a single on Elektra as the Beefeaters that, while a flop, showed them getting quite close to the folk-rock sound that would electrify the pop scene in a few months.

The Beefeaters, soon renamed the Byrds, were fleshed out to a quintet with the addition of drummer Michael Clarke and bluegrass mandolinist Chris Hillman, who was enlisted to play electric bass, although he had never played the instrument before. The band was so lacking in equipment in their early stages that Clarke played on cardboard boxes during their first rehearsals, but they were determined to master their instruments and become a full-fledged rock band (many demos from this period would later surface for official release). They managed to procure a demo of a new Dylan song, "Mr. Tambourine Man"; by eliminating some verses and adding instantly memorable 12-string guitar leads and Beatlesque harmonies, they came up with the first big folk-rock smash (though the Beau Brummels and others had begun exploring similar territory as well). For the "Mr. Tambourine Man" single, the band's vocals and McGuinn's inimitable Rickenbacker were backed by session musicians, although the band themselves (contrary to some widely circulated rumors) performed on their subsequent recordings.

The first long-haired American group to compete with the British Invasion bands visually as well as musically, the Byrds were soon anointed as the American counterpart to the Beatles by the press, legions of fans, and George Harrison himself. Their 1965 debut LP, Mr. Tambourine Man, was a fabulous album that mixed stellar interpretations of Dylan and Pete Seeger tunes with strong, more romantic and pop-based originals, usually written by Gene Clark in the band's early days. A few months later, their version of Seeger's "Turn! Turn! Turn!" became another number one hit and instant classic, featuring more great chiming guitar lines and ethereal, interweaving harmonies. While their second LP (Turn! Turn! Turn!) wasn't as strong as their debut full-length, the band continued to move forward at a dizzying pace. In early 1966, the "Eight Miles High" single heralded the birth of psychedelia, with its drug-like (intentionally or otherwise) lyrical imagery, rumbling bassline, and a frenzied McGuinn guitar solo that took its inspiration from John Coltrane and Indian music.

The Byrds suffered a major loss right after "Eight Miles High" with the departure of Gene Clark, their primary songwriter and, along with McGuinn, their chief lead vocalist. The reason for his resignation, ironically, was fear of flying, although other pressures were at work as well. Unbelievably, "Eight Miles High" would be their last Top 20 single; many radio stations banned the record for its alleged drug references, halting its progress at number 14. This ended the Byrds' brief period as commercial challengers to the Beatles, but they regrouped impressively in the face of the setbacks. With the band continuing as a quartet, McGuinn, Crosby, and Hillman would assume a much larger (actually, the entire) chunk of the songwriting responsibilities. Their third album, Fifth Dimension, contained more groundbreaking folk-rock and psychedelia on tracks like "Fifth Dimension," "I See You," and "John Riley," although it (like several of their classic early albums) mixed sheer brilliance with tracks that were oddly half-baked or carelessly executed.

Younger Than Yesterday, (1967) which included the small hits "So You Want to Be a Rock 'n' Roll Star" and "My Back Pages" (another Dylan cover), was another high point, Hillman and Crosby in particular taking their writing to a new level. In 1967, Crosby would assert a much more prominent role in the band, singing and writing some of his best material. He wasn't getting along so well with McGuinn and Hillman, though, and was jettisoned from the Byrds partway into the recording of The Notorious Byrd Brothers. Gene Clark, drafted back into the band as a replacement, left after only a few weeks, and by the end of 1967, Michael Clarke was also gone. Remarkably, in the midst of this chaos (not to mention diminishing record sales), they continued to sound as good as ever on Notorious. This was another effort that mixed electronic experimentation and folk-rock mastery with aplomb, with hints of a growing interest in country music.

As McGuinn and Hillman rebuilt the group one more time in early 1968, McGuinn mused about the exciting possibility of a double album that would play as nothing less than a history of contemporary music, evolving from traditional folk and country to jazz and electronic sounds. Toward this end, he hired Gram Parsons, he has since said, to play keyboards. Under Parsons' influence, however, the Byrds were soon going full blast into country music, with Parsons taking a large share of the guitar and vocal chores. In 1968, McGuinn, Hillman, Parsons, and drummer Kevin Kelly recorded Sweetheart of the Rodeo, which was probably the first album to be widely labeled as country-rock.

Opinions as to the merits of Rodeo remain sharply divided among Byrds fans. Some see it as a natural continuation of the group's innovations; other bemoan the loss of the band's trademark crystalline guitar jangle and the short-circuited potential of McGuinn's most ambitious experiments. However one feels, there's no doubt that it marked the end, or at least a drastic revamping, of the "classic" Byrds sound of the 1965-1968 period (bookended by the Tambourine Man and Notorious albums). Parsons, the main catalyst for the metamorphosis, left the band after about six months, partially in objection to a 1968 Byrds tour of South Africa. It couldn't have helped, though, that McGuinn replaced several of Parsons' lead vocals on Rodeo with his own at the last minute, ostensibly due to contractual obstacles that prevented Parsons from singing on Columbia releases. (Some tracks with Parsons' lead vocals showed up anyway, and a few others surfaced in the '90s on the Byrds box set).

Chris Hillman left the Byrds by the end of 1968 to form the Flying Burrito Brothers with Parsons. Although McGuinn kept the Byrds going for about another five years with other musicians (most notably former country picker Clarence White), essentially, the Byrds' name was a front for Roger McGuinn and backing band. Opinions, again, remain sharply divided about the merits of latter-day Byrds albums. McGuinn was such an idiosyncratic and pleasurable talent that fans and critics are inclined to give him some slack; no one else plays the 12-string as well, he's a fine arranger, and his Lennon-meets-Dylan vocals are immediately distinctive. Yet aside from some good echoes of vintage Byrds like "Chestnut Mare," "Jesus Is Just Alright," and "Drug Store Truck Drivin' Man," nothing from the post-1968 Byrds albums resonates with nearly the same effervescent quality and authority of their classic 1965-1968 period. This is partly because McGuinn is an erratic (though occasionally fine) songwriter; it's also because the Byrds at their peak were very much a unit of diverse and considerable talents, not just a front for their leader's ideas.

The Byrds' diminishing importance must have stung McGuinn doubly in light of the rising profiles of several Byrds alumni as the '60s turned into the '70s. David Crosby was a superstar with Crosby, Stills, Nash & Young; Hillman, Parsons, and (for a while) Michael Clarke were taking country-rock further with the Flying Burrito Brothers; even Gene Clark, though he'd dropped out of sight commercially, was recording some respectable country-rock albums on his own. The original quintet actually got back together for a one-off reunion album in 1973; though it made the Top 20, it was the first, and one of the most flagrant, examples of the futility of a great band reuniting in an attempt to recapture the lightning one last time.

The original Byrds continued to pursue solo careers and outside projects throughout the '70s and '80s. McGuinn, Clark, and Hillman had some success at the end of the '70s with an adult contemporary variation on the Byrds' sound; in the '80s, Crosby battled drug problems while Hillman enjoyed mainstream country success with the Desert Rose Band. The Byrds' legend was tarnished by squabbles over which members of the original lineup had the rights to use the Byrds name; for quite a while, drummer Michael Clarke even toured with as "Byrds" that featured no other original members. The Byrds were inducted into the Rock & Roll Hall of Fame in 1991; Gene Clark died several months later, and Michael Clarke died in 1993, permanently scotching prospects of a reunion involving the original quintet. David Crosby died on January 18, 2023 at the age of 81”.

I shall leave things there. A truly incredible and who released so many classics, I have assembled many of them here for this mix. The Great American Songbook is about wonderful U.S. and their influential body of work. There are few who have created one as iconic and important…

AS The Byrds.

FEATURE: Beneath the Sleeve: Charles Mingus - Mingus Ah Um

FEATURE:

 

 

Beneath the Sleeve

Charles Mingus - Mingus Ah Um

__________

IT is not often that…

IN THIS PHOTO: Charles Mingus shot at Columbia 30th Street Studio, recording Mingus Ah Um in May 1959/PHOTO CREDIT: Don Hunstein

I include a Jazz album in this feature. For Beneath the Sleeve, I am including Charles Mingus’s Mingus Ah Um. It was released in October 1959 by Columbia Records, and it was Mingus’s first recorded for Columbia. The title is a corruption of an imaginary Latin declension. Mingus Ah Um album was inducted into the Grammy Hall of Fame in 2013. It was ranked 380 on the Rolling Stone's 500 Greatest Albums of All Time. That is a bit of brief overview, with a nod to Wikipedia. I am going to start out with Sounding Out! and their background about Mingus Ah Um. How the album is an ethics of care in Jazz:

“Released in 1959 in the same orbit as Miles Davis’s Kind of Blue (August 1959) and Ornette Coleman’s The Shape of Jazz to Come (October 1959), Charles Mingus’s Mingus Ah Um (September 1959) showcased Mingus’s range both as a composer and bassist. Intimate both in its sound and session composition (only seven sessions players worked on the album), the album provides a purview into Mingus’s commitment to the idiomatic (“interconnected”) and collaborative nature of the black jazz tradition and the stakes of/for black art and artists. His investment in jazz’s black idiomatic structure stood at odds with the increasing importance of the singular jazz man to the marketing of jazz music.

Works like Mingus Ah Um prompt listeners to listen attentively to collaboration and collaborative efforts, both in the setting of a jazz ensemble/collective and in the historicity of black (jazz) men caring for one another. While the imposition of white gender prerogatives sometimes foreclosed intimate, homosocial (same-gender, social) relationships between black jazz men that revolved around what Christina Sharpe terms in In the Wake: On Blackness and Being as an “ethics of care,” Mingus Ah Um is not only an ode to black jazz ancestors and elders, but performative of Mingus’s deep care about the black jazz tradition and its futurity. (131)

In histories of jazz, Charles Mingus is often characterized as volatile and dismissive of young black jazz artists. His purported critique of neo-jazz movements of the late 1950s and early 1960s, like the free jazz (“The New Thing”)/avant-garde jazz movement, narratively put him at odds with emerging jazz artists like Ornette Coleman and Miles Davis. But as demonstrated by Mingus Ah Um, Mingus profoundly cared about black jazz men and the future of black jazz music. Given these histories, what would it mean for listeners to not dismiss

Mingus altogether, but hold in tension his anxieties, deemed dogmatic and peremptory, with his often careful and honorific sonic confabulation with black jazz men? How does re-listening to Mingus Ah Um make us empathetic to Mingus’s pursuit in preserving a waning black jazz tradition that was ever increasingly ridiculed and mocked (by way of anti-blackness) for its presumed anti-intellectualism and placation to whiteness? The undercurrent of Mingus’s care is not always expressed in histories or interviews, which begs the question: what is rooted in, yet exceeds the autobiographical, when we listen?

When listening to Mingus Ah Um the album’s ethics of care might be heard most explicitly on tracks like “Fables of Faubus,” a protest song in the most righteous sense, aimed at Orval Faubus, the former Arkansas governor who deployed the state’s national guard to barricade Central High School in Little Rock from the threat of integration (which is also to say the threat of miscegenation). A tune steeped in dissent and once with lyrics that made Columbia ask Mingus to re-record the tune: “Boo! Nazi Fascist supremists!/Boo! Ku Klux Klan (With your Jim Crow plan).” (“Original Faubus Fables,” Charles Mingus Presents Charles Mingus, 1960)

We have often confused Mingus’s care for the future of jazz music and black jazz artists for an ornery and grouchy disposition. He was quite cognizant of the fraught relationship black jazz artists had with the financialization of black performance, writing in his autobiography Beneath the Underdog: His World as Composed by Mingus that the music industry was a “system those that own us use. They make us famous and give us names—the King of this, the Count of that, the Duke of what! We die broke anyhow—and sometimes I think I dig death more than I dig facing this white world”.

Marking its sixty-fifth anniversary last year, Albumism heralded a Jazz masterpiece that came out on 14th September, 1959. Maybe a lot of people reading this would not have heard the album, though I feel Mingus Ah Um should be heard by everyone. It is a magnificent work that is future-looking but also throws back to an older time. I first heard Mingus Ah Um recently and wanted to shine a light on it here:

“Mingus’ work of genius sports a stunning abstract cover by legendary graphic design innovator S Neil Fujita—part of a concerted effort on Columbia’s part to keep level in the cool stakes with Blue Note. Francis Wolff’s iconic photography and Reid Miles’ typography had given Blue Note the lead, but the abstract design that graced Mingus Ah Um mirrored the freewheeling jazz spirit that lay within the grooves of the vinyl.

A glimpse at the tracklist demonstrates exactly the breadth of Mingus’ compositional focus. There’s the self-reflection of “Self-Portrait In Three Colors,” the skewering of those at the heart of injustice on “Fables Of Faubus” and the inspiration found within the jazz community of “Open Letter To Duke.” Such diversity of inspiration manifests in the diversity of dynamics in the tracks.

But those subject matters allied to his infamous brooding temperament might lead you to think the music contained within was sonorous or intrinsically serious and joyless. What Mingus Ah Um does brilliantly is take those darker recesses of the world and wraps them up in a joyously exuberant roll call of tunes that not only take their cues from jazz, but also add the slightest hints of gospel and the blues. It is, in effect, a glorious gumbo of Black music up to that point.

“Better Get Hit In Your Soul” is the most obvious case in point. At times it shuffles along, before breaking into a surging juggernaut swinging as it careers into view, but beneath the music are shouted exhortations from Mingus himself. Like the call and response of early blues or the moment the spirit moves in church, he yells his testimony from somewhere deep in the mix. Throughout the changes in tempo and instrument, one thing abides—a refreshingly healthy dose of fun. It feels the opposite of other, intensely earnest recordings of that year (and beyond).

The elegiac “Goodbye Pork Pie Hat” hits precisely the right somber tones in tribute to the recently departed Lester Young and “Boogie Stop Shuffle” sounds like the (complex) theme tune for a detective show or film noir. An expected change of tone and feel comes with the introspection of “Self Portrait In Three Colors.” Starting with a mournful mellow mood, it meanders into a wistful, louche reflection of the artist.

Hard swinging platonic love letter to Duke Ellington “Open Letter To Duke” does exactly as you might expect—it blurs the lines between the orchestrated precision of Ellington’s compositions and the freer from of jazz that swept through the genre, while that same hard swinging tribute comes with “Bird Calls” as the sax goes through its gears in tribute to the trail blazed by Charlie Parker. But what follows next is one of Mingus’ most intensely political compositions: “Fables Of Faubus.”

It has to be said that when I first listened to the track, its vaguely comedic tones made me smile from ear to ear. To learn later that it had been written for Arkansas governor Orval E Faubus, who notoriously brought in the National Guard to ensure that nine black children couldn’t be integrated into a Little Rock school, left me agog. But listening to it again showed the music in a different light—its intent wasn’t comedy, it was ridicule. Ridicule for a man so deeply entrenched in vile racism that Eisenhower sent the 101st Airborne Division of the US army to shut his plans down.

In 2003, Mingus Ah Um was chosen by the Library Of Congress to be added to the National Recording Registry alongside other epochal, life-changing albums and it deserves its place entirely. The beauty of these recordings (and Mingus in general) is that they acknowledge the debt of previous musicians and art forms, while forging a new way to navigate the tensions between written composition and improvisation.

That he was a volatile figure should be expected given the circumstances he grew up and played in, but his music was salvation both for him as composer and for anyone who listened. Salvation that could only come from someone steeped in blues and gospel traditions—the sweetest of salvations”.

I am going to head back to 2002 and a review from Pop Matters. An extraordinary and seminal album that is hugely affecting and will instantly move you, I hope that this feature has helped go beneath the sleeve of the 1959-released masterpiece. You do nor need to be a Jazz fan or know about Charles Mingus to love this album:

“The whole thing was recorded by Teo Macero in two days, May 5 and 12, 1959. This was Mingus’s first record on Columbia, so (Mingus being Mingus) he went all sideways; instead of calling in a bunch of well-known all-stars, he pulled together a young hungry band from his Jazz Workshop project: Booker Ervin and John Handy on saxophones along with older collaborator Shafi Hadi, Dannie Richmond on drums, and the amazing Horace Parlan on piano, with Mingus vets Jimmy Knepper and Willie Dennis alternating on trombone. (Compare Miles Davis’ Kind of Blue, released the same year, with its ultra-hip lineup.) The fire and commitment of the young band is amazing — everyone except Mingus was 33 or younger — and the sound is impeccable, especially in its remastered CD version.

“Better Git It in Your Soul” is the first track, and has become the most daunting classic in jazz. It starts, appropriately, with Mingus on bass playing a strong figure that somehow sets the pulse for the entire 6/8 piece, which bursts into flower at the 18-second mark and never looks back. It’s a church revival meeting that somehow seems entirely secular; Mingus is testifying out loud, “Oh, yeah!” but it seems more like the Temple of Music than any religion dedicated to a deity. All the saxophones have ace solos, but the insane pulse carries the piece, with Parlan and Richmond hammering away in some kind of trance. Parlan gets high marks for his solo breaks all through the record — this is especially amazing considering he only had the use of two fingers on his right hand. He’s the Pete Gray of jazz, and a motha. And when the piece deconstructs itself at the 3:45 mark, with handclaps backing Ervin punching out the funkiest sax piece of all time, it just may be the origin of the funky breakdown in music.

The slow pieces are devastating: “Goodbye Pork Pie Hat” is glacial in celebrating Lester Young, but its momentum is undeniable, and “Self-Portrait in Three Colors” is what the band will be playing when we’re all ushered into that great jazz club in the sky. “Fables of Faubus” is a devastating burn on Orville Faubus, the racist cracker asshole governor of Arkansas; it lacks Mingus’ hilarious lyrics here (thanks, probably, to Columbia’s legal department), but the idea of a lurching stupid man standing in the way of progress and harmony is carried through perfectly in its stop-start groove. And the fast pieces are so amazingly fast that they are untouchable; “Boogie Stop Shuffle” is like speed metal, kinda, except without the metal part, and the be-bop pace of the Charlie Parker tribute “Bird Calls” would be intimidating for any other band.

But here is why this record is crucial: it is the template for all later album statements. Thelonious Monk had been the first jazz composer to really try to maintain a personal tone on his albums in the late 1950s, but a strong case can be made that Mingus Ah Um was the first record to really feel a musician’s personal stamp all the way through. I’m not saying this is a concept album, although his tributes to Parker and Young and Duke Ellington and Jelly Roll Morton (and Faubus) do give it a certain unity. But think of any album released before this one, by anyone, in any genre: weren’t they all just collections of songs? Mingus Ah Um is a unified work, a novel as opposed to a volume of short stories, a manifesto that derives as much from its sequencing and total impact as it does from the individual performances and songs.

Well, okay, Kind of Blue and The Shape of Jazz to Come also came out in 1959. But isn’t it interesting that these three groundbreaking albums were all recorded at more or less the same time? For many reasons, this was the defining year in modern music history — this was the first time that musical artists were treated like artists instead of hit machines. So we’ve got the historical significance thing, the beauty and technical virtuosity thing, and the soulful thing covered. But what it really comes down to is this: This Record Is Absolutely Freakin’ Amazing In Every Single Way I Can Think Of, and it’s never ever bored me, not even once.

I guess it woulda been cooler to pick the Minutemen record, but I’ve made my choice. So there. You guys aren’t actually going to make me give up all my other records, are you?”.

Mingus Ah Um is a staggering work that ranks alongside the absolute best and most important Jazz records ever released. I think that it is also timeless. Some albums from the late-1950s date and can lose their power. However, Mingus Ah Um still sounds extraordinary and vital…

TO this day.

FEATURE: More Than Another Day: Inside Kate Bush’s Extraordinary 1979 Christmas Special

FEATURE:

 

 

More Than Another Day

IN THIS PHOTO: Kate Bush performing Them Heavy People during her 1979 Christmas Special, Kate

Inside Kate Bush’s Extraordinary 1979 Christmas Special

__________

LET’S get some facts and background…

out of the way first. Kate Bush embarked on her first and only tour in 1979. The Tour of Life took her around the U.K. and Europe. In 1979, she was also working on songs for her 1980 album, Never for Ever. Broadcast on 28th December, 1979, the Christmas Special, Kate, was a way of Bush being able to perform on T.V. and give those who did not attend The Tour of Life a scaled-down and Christmas-flecked version. A selection of songs that appeared on that tour setlist together with some new and unique performances, Bush was able to include songs that would appear on Never for Ever. Egypt and Violin featured in the set for The Tour of Life, though The Wedding List did not. I almost think of this song as an unofficial single. The fact that what we see in Kate (the name of that Christmas Special) is like a music video. It is brilliant staged. Shot at Nunhead Cemetery, south London, it is a wonderful visual. The live performances for the Christmas broadcast were filmed in October 1979. Filmed at BBC’s Pebble Mill Studios in Birmingham, Anthony Van Laast choregraphed (he appeared in The Wedding List as the ill-fated groom). It is amazing that, at only twenty-one, Bush had achieved so much! Doing this Christmas T.V. show too, it was another big achievement. Even if it does divide people, I really love it! There are a couple of questions around the authenticity of the audience. I have seen people write that it was a live audience, but it sounds quite hollow. I am not sure if anyone was there at all! To me, it sounds like audience sounds from the BBC, as all the reactions sound similar; you never see any audience members. Obviously, they could not leave it silent, but I also don’t get the impression people were there watching. Also, there are unique aspects of Kate that people understate. How Ran Tan Waltz got its only performance. The same goes for the duet between Peter Gabriel and Kate Bush, Another Day. A Roy Harper song, he would appear on her 1980 single, Breathing. She featured on his song, You (The Game Part II), from his 1980 album, The Unknown Soldier.

I love how there is a mix of songs from her first three albums. No Christmas carols or classics, instead, we get Bush’s only Christmas single, December Will Be Magic Again, performed. Its second-ever T.V. performance, it would be released as a single on 17th November, 1980. You can buy Kate – or the Kate Bush BBC Christmas Special – on vinyl. I have brought this feature in before, but I want to return to it. They look at all the songs included and write whether it is Christmas-appropriate or not. Whether it related to death, and whether the song was officially released or not. I will highlight their thoughts on Ran Tan Waltz, The Wedding List, and the final number, Don’t Push Your Foot on the Heartbrake:

“Is this a Christmas song? No.

Is this a song about death? Not that I know of!

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Is it unreleased? Yes. It would later be released as a B-side for “Babooshka” in June 1980.

A direct quote from my notes: “Kate Bush invented adult babies”

Speaking of bizarre tonal shifts, Kate is back — now in drag as a man — to sing “Ran Tan Waltz” with her wife and their adult baby. The choreography here is bonkers, wonderful, and really physically involved. She’s constantly getting picked up and thrown around, which causes her to lose both her beard and her hat, and by the end of the performance she’s no longer Kate Bush in drag as a man, but rather just a slightly disheveled Kate Bush in a vest.

Is this a Christmas song? No.

Is this a song about death? No, but it’s depressing as hell.

Is it unreleased? No, it’s a cover of a 1970 Roy Harper track. Gabriel and Bush had plans to record and release it at some point, but never did.

A direct quote from my notes: “I don’t know what to say about this”

Peter Gabriel comes back to perform a duet of Roy Harper’s “Another Day.” It’s not a Christmas song, but it is an extremely depressing song about reflecting on What Could Have Been with a former lover. Peter and Kate really sell it, performing both the past and present versions of the couple. It’s a beautiful performance, but it’s hard not to laugh when you remember that a) this is ostensibly a Christmas special and b) it’s proceeded by “The Wedding List”.

Is this a Christmas song? No.

Is this a song about death? No, but honestly we can never be too sure!

Is it unreleased? No, this one’s from Lionheart.

A direct quote from my notes: “Serving Cell Block Tango realness”

Kate and her dancers are now wearing matching, skintight, all-black outfits. They hang from some grates that make it look like they’re in cages and I half-expected Kate to break into a verse of “Cell Block Tango” at one point. During the second chorus, Kate pantomimes riding a motorcycle really convincingly only for the trash can to suddenly roll back on stage. She picks it up, SLAMS it on the ground repeatedly, and throws it off-stage.

Her dancers spin trash can lids hypnotically, and then it’s all over. The credits roll, and the instrumental outro of her megahit “Wuthering Heights” begins to play. Suddenly, you’re reminded that Kate Bush didn’t even bother to play her biggest hit during her BBC Christmas special”.

I am going to come to some thoughts from author Graeme Thomson in his book, Under the Ivy: The Life and Music of Kate Bush. Totally Rad Christmas shared their thoughts and appreciation for Kate Bush’s 1979 Christmas Special. There is not a lot written about it. It is a shame. Ahead of its forty-sixth anniversary on 28th December, I wanted to spend some time with it:

“The special is a mix of live performances and choreographed dance to prerecorded music. The live portion was recorded BBC Pebble Mills Studios in front of an audience. The music for the dance was done at EMI Studios in London. After a rotoscoped animated introduction, Kate launches into renditions off “Violin,” Gymnopédie No. 1 by Satie, and “Symphony in Blue.”

“Them Heavy People” follows with Kate garbed in sequins. Immediately a trio sings Peter Gabriel’s in, and he serenades the audience with “Here Comes the Flood.” Kate performs “Ran Tan Waltz” then premieres “December Will Be Magic Again” on solo piano. Next comes “The Wedding List” about a vengeful bride and the duet “Another Day” with Peter Gabriel about a failed marriage. Finally, Kate enthralls us with “Egypt,” “The Man with a Child in His Eyes,” and “Don’t Push Your Foot on the Heart Brake.” Does she hop in a garbage can and come out dressed like Sandy from the end of “Grease?” Why, yes. Yes she does.

Stevie Nicks-like flowing black outfit? Yep. Fake beard and “Fiddler on the Roof” getup? Uh huh.  Kate doing interpretative dance superimposed over her playing piano? Definitely! So grab your violin and head to Egypt to this episode about Kate Bush!”.

Graeme Thomson heralds the performance of The Wedding List. The first outing of this highlight from Never for Ever, he does say that the rest of Kate ends up “looking cheap and rather silly”. I would disagree. It is Kate Bush. It is not silly! It is very much her aesthetic and tradition. It is not like she was doing too much out of her ordinary. I like the fact that there is not a lot of Christmas music in the show. Instead, we get to see these televised versions of songs that many would never be able to see otherwise. Unless they were at The Tour of Life. Thomson writes off Egypt as being rife for parody. Them Heavy People as a watered-down version of what she mounted for the tour. Although Egypt is not my favourite from Kate, I do love Them Heavy People. It is also great that Bush got to perform Symphony in Blue. Never a single in the U.K. (it was in Japan and Canada), it is the opening track of 1978’s Lionheart. One of the standouts. Also, that Another Day duet with Peter Gabriel. The fact the two solidified their friendship.

Bush would appear on Peter Gabriel’s Games Without Frontiers and No Self Control. They were from his extraordinary third self-titled album, a.k.a. Melt. The two shared the stage for the Bill Duffield tribute concert. This is when Bush decided to use one of her London dates on The Tour of Life to pay tribute to Duffield. He was a lighting director who tragically died after the warm-up gig for The Tour of Life following a freak accident. This tragic incident brought Bush and Gabriel together. She would appear later on Don’t Give Up (from Gabriel’s 1986 album, So). The two became firm friends, so is really nice to see Gabriel perform on Kate. I really love the under-discussed Christmas Special. I hope that it is shown on the BBC again, as it never really gets credit or that much love! I wanted to write some words about Kate, as it is a Christmas treat. One I hope fans enjoy…

THIS year.

FEATURE: Chains of Love: How Charli xcx Is Turning to Film More Than Music After BRAT

FEATURE:

 

 

Chains of Love

PHOTO CREDIT: Monica Schipper/Getty Images

How Charli xcx Is Turning to Film More Than Music After BRAT

__________

THERE are a couple of new…

PHOTO CREDIT: Charli xcx

Charli xcx tracks out that see her move in a different direction. I am going to come to an NME article, that reacts to a Charli xcx Substack post. After the popularity of 2024’s BRAT and everything that followed, there were a lot of eyes on her. BRAT was this massive success and was possibly the greatest albums of last year. Charli xcx was touring a lot and there were a lot of things happening. Promotion and the remix album for BRAT. On 13th February, the day before Valentine’s Day – I am not sure if that is deliberately chosen, as there is this gothic romance and tragedy at the heart of the novel -, Wuthering Heights is released. Coinciding with the release of Emerald Fennell’s modern adaptation of the Emily Brontë novel (a loose adaptation to be honest), these are all original songs. It will be really fascinating. I was sort of hoping there would be a cover of Kate Bush’s Wuthering Heights, though that may seem a bit meta! However, like Kate Bush – an artist I feel Charli xcx is inspired by -, the London artist is being influenced by film more than music at the moment. Given how she is contributing to a film soundtrack, it is to be expected that she would be in that mindset. However, I think it is more the visual aspects and cinematic nature of film that is enforcing her moves. She released the single, House, which features John Cale. The new track, Chains of Love, is out today (14th November). The two songs are very different, and they are both worlds away from BRAT and its (neon green) world. Shades of brown, black, pink and red, there are deeper hues, but also these brighter elements. I want to start with NME and their reaction to a fascinating Substack post from Charli xcx:

“Charli XCX has said she’s “currently feeling more inspired by film than by music” after being left “stuck, empty and barren” after her breakthrough album ‘Brat‘.

The singer has started a new Substack, where she wrote about the process of making Emerald Fennell’s Wuthering Heights soundtrack after the huge success of ‘Brat’. She’s recently taken to the big screen with acclaimed roles in the movies Erupcja, 100 Nights of Hero, and Sacrifice while next year will see the release of her starring in Mother Nature, The Gallerist and The Moment.

She professed that it has been a “fucking blessing and relief” to be experiencing “overwhelming creativity” after making ‘Brat’, where she “had this feeling that I wouldn’t be able to make music anymore.

“When I vocalized this, [husband and The 1975 drummer] George [Daniel] said ‘Yeah, but you always feel this way. We all do’. And he’s right, we do, but it felt so potent this time, sort of like being hit by a truck and left on the side of the road to bleed out,” she wrote.

She went on to speak about her experience of touring ‘Brat’, writing that by the end of ‘Brat’, “I sort of felt like I was squeezing blood from a stone, trying to get every last drop of liquid life out of an idea I had already been sat with for years prior”.

There are some interesting takeaways from the Substack post. I shall mention Kate Bush again briefly, in the sense there is a Wuthering Heights connection. Also, Bush was influenced by film and you can very much see her albums as filmic and cinematic. Someone who was a very visual artist. For Charli xcx, it is revealing what she says about feeling spent. Birthing an album that was very personal and took a lot out of her. When it was out in the world and gave people such joy, maybe that created this sense of exhaustion, pressure and loss. Having dedicated so much time and energy to BRAT, following that or try to write again so soon was like getting blood out of a stone. Music of that same vibe, anyway. Anyone who was expecting a BRAT 2 and another album with that sense of energy, vibe and sound would have been asking an awful lot of Charli xcx. I do hope that she gets some big and great film roles. At the moment, there have been bits and bobs and there is stuff in the pipeline. However, you feel like Charli xcx could (and should) appear in a range of brilliant films. From action through to comedy, she has this range and you feel she can inhabit so many great roles. Maybe a music biopic, where she is cast as another iconic artist. However, this section of her Substack stood out:

“Film is where my creative brain seems to be gravitating. I’m enjoying acting, I’m enjoying writing, I’m enjoying watching and I’m above all enjoying discovering a new craft. Those things feel really enriching and instinctual to me at the moment but also music is a limb I will probably never fully be able to cut from my body despite trying quite hard to do so at points. When Emerald approached me with an open mind and a total willingness for me to explore I thought… ok I can do something cool here. I can write songs from a different perspective and I can think about these songs as purely serving the film they’ve been written for. For me that’s a totally different approach and finding a new approach always feels like a lifeline to a new way of creating. This collection of songs is an album, and sure, my name’s on the credits, but is it a Charli xcx album? I don’t even know. Nor do I really care to find out. All I know is that it’s a celebration of my freedom as an artist right now and that I feel passionate about what I’ve created and how it’s been created. I also know that I’m enjoying talking about the work here in long form. When I listen to this music, in ways it takes me back to my first album, True Romance. There’s something nostalgic about it, something cyclical, like I’m re-embracing the gothic and my earlier touch points. I’m writing through the lens of the screenplay I read and only occasionally checking in with my own internal narratives. Most likely it’s not something I will tour. I’d just like the songs to live as songs, within and adjacent to the film”.

It will be interesting see what Charli xcx creates with Wuthering Heights. The two songs we have heard so far might indicate what we will get from the film. If House is more Horror and this darker track with a great spoken part from John Cale, Chains of Love reminds me of Rahim Redcar (Christine and The Queens) and their work. Both different to what she has produced before, you can tell these songs are made for the screens. If BRAT was more for the clubs, this is Charli xcx thinking in a more expansive and bigger (and less sweaty and intense) way. People were wowed by House. It was a left-turn. A song that has this terror and darkness. Chains of Love provides something more open and less  suffocated. I do wonder, if Charli xcx releases a new studio album after Wuthering Heights, it will follow the same lines. I think cinema will take a front row seat in her imagination. That Substack post where Charli xcx discusses the aftermath of BRAT and what she says here: “But by the end of the process I sort of felt like I was squeezing blood from a stone, trying to get every last drop of liquid life out of an idea I had already been sat with for years prior. I still love her, don’t get me wrong but I was itching to move on and was simultaneously frustrated that I was so depleted that I couldn’t. I was stuck, I was empty, I was barren, I was running on the spot in a different kind of way”. Cinema and its possibilities not at the forefront. I do feel that Pop artists have connected with cinema, though I feel others will follow a similar path to Charli xcx. Wuthering Heights will be a fascinating album, and we hope that next year finds Charli xcx in some amazing films. I think she will appear in Greta Gerwig’s Narnia film but, other than that, what other roles are in store? We shall see. However, these two fresh and fascinating tracks from Charli xcx sees her embrace a new medium and direction. A really phenomenal one. Not only does Charli xcx want to appear in cinema more. I feel that we will see her future music take on a more filmic lens. These wonderful and distinct track from a…

MODERN music icon.

FEATURE: Blown Away: How Kate Bush Adapted and Moved Forward Following the Release of Never for Ever

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Blown Away

IN THIS PHOTO: Kate Bush circa 1980/PHOTO CREDIT: Angelo Deligio/Mondadori via Getty Images

How Kate Bush Adapted and Moved Forward Following the Release of Never for Ever

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I am about to write a feature…

about Charli xcx (which would have already been published by the time you are reading this feature), as she has recently said how she was spent after recording BRAT. Nothing left in the tank. Like trying to get blood form a stone. Maybe she had put all of her creativity into that album and it was hard to do anything else. Charli xcx has said how she is more influenced by film at the moment than anything else – including other music. It reminds me of Kate Bush and her ongoing link to film. How that inspire her. In terms of the creativity drain or at least a feeling of being spent, that happened especially notably after two of her albums. She was diagnosed with exhaustion after completing The Dreaming. That came out in 1982. The album before that, 1980’s Never for Ever, found her similarly detached or affected. In different ways. These two albums were her first as producer. Never for Ever was a co-produce with Jon Kelly. Bush, keen to establish her own sound and exert more control over her music, perhaps spent more time she would have imagined in the studio. I am interested in a section of Graeme Thomson's biography, Under the Ivy: The Life and Music of Kate Bush. This is a book I have referred to a lot through the years. He writes about the period after Never for Ever’s release. 1980 was a period where Kate Bush was living a pretty normal life. She was smoking a packet of cigarettes a day – something she gave up later in life – and was eating fruit and yoghurt but, as Thomson notes, mostly chocolate, tea, toast and chips. This quick-hit diet was common when she was recording The Dreaming too. She was watching films and T.V. in her Lewisham flat with her boyfriend, Del Palmer.

I think a level of fame and attention did change things. It was clear that the effort needed to finish Never for Ever took something out of her. How she found it hard to instantly move on. Sitting down to the piano and nothing coming out. In addition, Bush was being offered acting roles, including a part as the Wicked Witch in Wurzel Gummidge. There was this contrast of Bush having a personal driver (even though she knew how to drive) but bringing her laundry around to her parents’ house and stopping in for a tea and natter! I think that the growing attention and popularity was never comfortable. Bush never wanted fame. In 1981, when she was at Abbey Road Studios to mark its fiftieth anniversary, people were trying to get to her. Bush was with David Paton (who played with her on her albums) and asked if they could escape to Studio Three (the smallest studio). Bush was soon discovered and she was then the centre of attention! That clash between unable to find too much private time and live a normal life and moving on from Never for Ever. The album, whilst not particular political in nature (bar a couple of songs), was still challenging and multi-layered. Pushing herself more as a songwriter and producer, all the hard work paid off. The album went to number one and Bush broke a record in the meantime. The first female artist to reach the top of the U.K. album chart at number one. Whilst it all sounds normal on the surface, there was this sense that she came off of 1979’s The Tour of Life and started work too quickly. That tour was a chance for Bush to play her first two albums (1978’s The Kick Inside and its same-year follow-up, Lionheart) and have a big say in terms of visuals, design, sound and nearly every aspect. The idea of recording a third album and producing herself. Maybe she should have taken some more time.

However, she did record this incredible album. In September 1980, when Never for Ever came out, I am not sure whether it was EMI or Kate Bush who felt the need to put a new album out. Keep that momentum going. She had this period of writer’s block that was solved when she saw Stevie Wonder play at Wembley Arena. Bush was so inspired that she wrote Sat in Your Lap. That was released as a single in 1981 and was the first taste of The Dreaming (1982). Something that Bush revealed that will apply to artists today, there was this deflation. As Graeme Thomson writes: “She descried the period immediately after finishing Never for Ever as “sort of a terrible introverted depression. The anti-climax after all the work really set in in a bad way, and that can be very damaging as an artist”. Bush went on to say she sat at the piano to play but nothing came out. She bought a property on Court Road in Eltham, south London, across the road from Royal Blackheath Golf Club. It was close to her childhood home at East Wickham Farm but quite low-key. Paddy Bush (her brother) was next door and Jay (John), her other older brother, was at his sister’s place a lot. Like when they lived in the same property on different floors at 44 Wickham Road before, this was siblings all together. That was important to give Bush some sort of comfort and support. However, it is clear that what Bush felt after releasing this amazing album can be applied to so many artists of today. Including Charli xcx.

For Bush, there was this period of change and progress. In her own place, she could write and perform music in this flat. Rather than being at a studio for hours or at her family home, there was a cross of independence, space and having her family nearby. It is clear that there was a sense that there was more to life than music. She did have to take a step back at time and find ways to separate herself from music. However, that Stevie Wonder gig was a case of a social event and night out reigniting some inspiration! It is worrying that there was this depression that Bush experience after Never for Ever. How she maybe felt like music would never come again. Flip forward to the period right after The Dreaming and how that hit her. Rest, family and space helped with Never for Ever. Rest and time off after The Dreaming. It is clear that the routine and reality of producing her first two albums of the 1980s was a learning curve. She threw everything into and maybe felt she had to. To provide to critics, EMI or whoever that she was a serious artist. Or that she could and should produce her own work! The studio sessions were probably more chilled and sociable for Never for Ever, but the hours put in for each album were brutal. The periods right after the albums’ releases was strange and tough. That introverted depression and drying-up after Never for Ever is really affecting and sobering. It did take Bush a while until she could write new material. However, I think moving into a new space and having her brothers near did help. Spending time with Del Palmer and enjoying a bit more of a normal life. Alongside that, she had some of the trappings of a major artist. Demands from film and T.V. Bush allowing some luxury too. Never for Ever turned forty-five in September. It was a chance to re-explore her third studio album. Even if she cleared had wrung every morsel of inspiration and creativity, she did get back to writing in the end. It is clear, though, that 1980’s Never for Ever is…

A true masterpiece.

FEATURE: A Time for Change: Why 2026 Needs to Be a Year Where Women in Music Can Feel Safe and Respected

FEATURE:

 

 

A Time for Change

IN THIS PHOTO: Halsey recently experienced two incidents of abuse at her gigs as part of her Back to Badlands Tour, including being groped by a concertgoer/PHOTO CREDIT: Maya Dehlin Spach/WireImage/Getty Images

Why 2026 Needs to Be a Year Where Women in Music Can Feel Safe and Respected

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IT is a sad and depressingly common…

PHOTO CREDIT: Rahul Pandit/Pexels

occurrence where we have to discuss sexual assault and abuse in the music industry. Something that affects women more than anyone else, it is often perpetrated by men too. An industry where women are exposed to assault and abuse from within the industry (those working in music) and in live spaces, it is such a toxic environment. Things have not really improved in any way. In terms of discrimination and sexism, this is still hugely common when it comes to festival line-ups, exposure, opportunities and pay. Women, who are dominating music, not given the credit and respect they deserve! Misogyny is still a massive issue that has not been properly addressed for sure. There are so many cases of women reporting sexual assault. When it comes to gigs, this should be a safe space where they should be able to express themselves and play their music without threat of assault or violence. Although artists of any gender can face attack and abuse, it is women more often again who are vulnerable. Whether it is having projectiles thrown at them or fans crossing the line, it can extend to sexual assault. Recently, during a performance, U.S. artist Halsey was sexually assaulted by a fan. Someone groped her during the gig. It is not the only recent incident where someone at her gigs has abused her. Verbally in another case. I want to come to an NME article regarding recent experiences Halsey has faced - that should be a wake-up call for the music industry:

“Fans have been taking to social media to share their outrage after footage emerged of Halsey being groped by a concertgoer.

The incident took place during the singer’s ongoing ‘Back To Badlands’ tour dates, when they performed at The Anthem in Washington D.C. on November 4.

Since the show was held, footage has emerged from someone in the crowd, and it shows the ‘Colours’ singer being groped by an audience member before security intervened. It came as Halsey was delivering a rendition of ‘Is There Somewhere’, and leaning into the crowd during the performance.

In the video, which has been shared by The New York Post, one of the people in the audience is seen putting their hand on the singer’s thigh, before moving it underneath her leather skirt.

Security were quick to spot what was happening and pushed the person’s hand away, and Halsey continued to sing without stopping the performance to bring light to the issue.

Unsurprisingly, fans have been quick to share their outrage at the footage, and call for there to be more respect shown towards Halsey and other performers as they take to the stage.

“Personal boundaries are non-negotiable — a concert is for music, not unwanted touching. Some people seriously need a lesson in respect,” wrote one person after seeing the footage on X/Twitter, while another shared: “That is just so wrong in so many ways.”

I’ve been polite but won’t be caught dead letting a man tell me what I should play in my set.

— halsey 🌸 (@halsey) November 4, 2025

“That’s beyond unacceptable. Performers deserve to feel safe on their own stage – no excuses for this behaviour,” added a third, while someone else commented: “Idiot deserves to be charged. Absolutely unacceptable behaviour.”

“Have we not learned respect , there’s no excuse for this,” another person said on X, and someone else agreed: “That’s harassment, the efff is going on with people? I feel disgusted and I’m so sorry she went through it.”

Halsey has not yet publicly spoken about the incident. NME has reached out to her team for comment.

Just one day before that gig in Washington D.C., Halsey played the second of her two planned shows at Boston’s MGM Music Hall – and revealed that just hours before she was held overnight in the ER due to an acute medical emergency.

Also on that second night in Boston, they faced another issue with the audience, and hit back after being heckled by someone in the crowd who said “shut up and play”.

“I’m gonna play whatever the fuck I wanna play,” Halsey said in response. “In case you didn’t hear me correctly, I almost fucking died to be on this stage. I’m going to play whatever the fuck I wanna play.”

Halsey released her fifth studio effort ‘The Great Impersonator’ last October, and it was given a glowing five-star review from NME and later named one of our best albums of 2024.

“‘The Great Impersonator’ comes from a place she describes as ‘the space between life and death,” the review read. “On the surface, it’s a tribute to the artists who made her. But on the other hand, it’s a brutal reckoning with chronic illnesses and postpartum depression, written when she wasn’t certain if she’d make it to the other side.”

For help, advice or more information regarding sexual harassment, assault and rape in the UK, visit the Rape Crisis charity website. In the US, visit RAINN”.

PHOTO CREDIT: Wolfgang/Pexels

It is bad enough if an audience members heckles and abuses an artist. If you are at a gig to see someone perform, then you should not be heckling, shouting or do anything that makes them uncomfortable or threatened! Even more so, assaulting an artist is reprehensible and horrendous. I hope that the gig-goer is prosecuted and banned from any Halsey gig! Even though this applies to a very small number of concert-goers, it does not hide the fact that we are still having these conversations. Where women especially are exposed to violence and sexual assault. It is nearly impossible for venues to police so that this never happens. However, the more these incidents occur, the more it will affect every woman in music. They desperately want to play for their fans, and the thrill of experiencing that connection is something that cannot be explained or overstated. However, if they do feel like there is going to be a threat or danger, then what impact will that have?! Going into the crowd could mean they are groped (or worse). Even standing on the stage, there is that possibility of verbal or physical abuse. Halsey showed incredible strength and discipline not to lash out against the fan who groped her. She will continue to play live, though you feel like it will not be long until another woman in music is subjected sexual assault. The industry needs to react to this! Obviously, there is no way for every venue to safeguard artists completely.

However, there is a danger where women will perform less or hold back when it comes to engaging with the audience and stepping from the stage. In recent years, women in music performing live have had to encounter so much. From abuse and assault through to those doubting whether they are playing their own instruments or deserve to be on such a big stage, next year needs to be different. Performers do need to feel safe. Fans need to respect artists. Last year, SPRINTS’ lead, Karla Chubb, revealed how she was groped at a gig. She spoke out against sexual assault. This is happening every year, and it is gut-wrenching to see! Changes and action needs to be taken. We cannot be talking about this constantly without there being any signs of improvement or women feeling safer. Small steps are being made. In the same report where Karla Chubb talked about being assaulted, there was call for the government here to do more to recognise the widespread nature of sexual assault and misogyny:

“In January, the Women and Equalities Committee (WEC) - a group of MPs from different parties who advise the government on a specific issue - released a report on the topic.

The findings, based on an inquiry which started in 2022, warned that the industry was a "boys' club" with a "culture of silence" surrounding abuse.

Giving evidence at a public hearing, former Radio 1 DJ Annie Mac, said there was a "tidal wave" of revelations about sexual assault in the music industry waiting to be told.

The WEC is due to meet again later to discuss the government's response and says it "failed to accept" a set of "wide-ranging recommendations" designed to better protect women in the industry.

Committee chairwoman, Conservative MP Caroline Nokes, tells Newsbeat she isn't "remotely surprised" by Karla's story.

"My message to the government is you need to get serious about the safety of women," she says”.

We all hope that Halsey is okay and that she never has to experience anything like what she did again! Going forward, this needs to be a loud and clear message to fans and the industry. This article from July regarding a study conducted to gauge the extent of sexual abuse in the Scottish Folk scene, also brought to mind a need for a #MeToo movement. How music has really not had one and how, especially in light of Halsey’s assault, there needs to be new conversations. When it comes to expressing outrage over another woman assaulted or abused in music, we cannot be having this same conversation…

THIS time next year.

FEATURE: Do We Recognise the Work and Brilliance of Female Composers? The Ongoing Sexism and Discrimination That Needs to End

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Do We Recognise the Work and Brilliance of Female Composers?

IN THIS PHOTO: Violinist Esther Abrami released her album, Women, in April. Women is a tribute to female composers, featuring fourteen women from the 19th century to the present day, including newly composed works and rediscovered pieces. The idea behind the album is to bring attention to historically overlooked artists, often in new arrangements, and tell their stories through music

The Ongoing Sexism and Discrimination That Needs to End

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I have been thinking about this…

IN THIS PHOTO: Hannah Peel

for a while now. I have written about female composers. By this, I do not mean women who write the music and are in Pop, for instance. I mean more Classical. What we would see as compositions rather than tracks. Maybe not exclusive to Classical, one of my favourite composers of modern times is the brilliant Hannah Peel. At the end of last month, Peel was part of a very special event marking eighty years of Jodrell Bank.

“Jodrell Bank hosts an intimate evening of conversation, music and astronomy this October.

Taking place on Thu 30 Oct, award-winning composer, producer and broadcaster Hannah Peel will be joined by Professor Tim O’Brien, Associate Director of the Jodrell Bank Centre for Astrophysics, in a discussion chaired by Professor Terasa Anderson, MBE.

The unique event will feature the world premiere of Hannah’s brand-new composition for the BBC Philharmonic, a fascinating exploration of sounds foraged from around Jodrell Bank, created for BBC Radio 4’s upcoming celebration of the iconic Observatory’s 80th anniversary.

Throughout the evening, Hannah, who has been nominated for an Emmy, Mercury Prize and Ivor Novello, and Tim, co-founder of Bluedot Festival, will delve into the sonification of scientific data, Hannah’s creative process and relationship with Jodrell Bank, and the powerful intersection of space and storytelling.

The event also marks the rerelease of Hannah’s critically acclaimed album, Mary Casio: Journey to Cassiopea, which is described as a 7-minute odyssey that charts one person’s journey into outer space”.

Mary Casio: Journey to Cassiopeia was originally released in 2017 but has been reissued. You can find out more here. Hannah Peel is an incredible composer and talent who I have been following for years now. I do think that we do not really explore brilliant women. Especially when it comes to composers. The same could be said of artists too. However, this Substack article is quite eye-opening. A conversation with Katherine Needleman, the Principal Oboe at The Baltimore Symphony, these statistics are alarming:

“Well, I’m going to start interviewing people. Probably once a month. (If you have any interview requests- let me know).

As you’ll hear, Katherine has faced more than her fair share of sexism in the classical music world personally, but let’s start off with some collective stats:

• Women represent 47% of orchestra musicians overall, and yet 83.2% of principal chairs are held by men, less than 17% by women.

• Over half of women musicians report facing gender discrimination in the industry.

• 32% of women musicians report being sexually harassed while working as a musician.

• Across 111 orchestras, only 7.7% of schedule works were composed by women.

• Only about 1 in 9 music directors are women, but amongst more prestigious orchestras, the ratio falls to 1 in 18”.

There is a particular article that struck me that I found recently I will come to. This article has the header: “As a new report shines a spotlight on gender equality at the BBC Proms, ISM Chief Executive Deborah Annetts asks why women composers are still given so little time in concert programmes”:

“The Independent Society of Musicians (ISM) is pleased to support the Donne Foundation’s important new report into equality and diversity at the BBC Proms through the lens of the programming of the 2024 Proms season. So, against this background how is the BBC is doing?

Donne’s report shows that there has been no meaningful change since the ISM analysed the Proms’ 2023 season. We found that in 2023 15% of works performed were written by women, while just 7% of the total performance time of works were by women. Donne’s report shows that in 2024 the total performance time of works written by women rose slightly to 8.6%, but that only 13.6% of works performed were by women. Going back further, when composer Joanna Ward analysed Proms programmes from 2013-2018 the average duration of a woman’s piece was 12 minutes, compared to 25 minutes for those by men.

Why is it that women composers are not taking up more space at the Proms? Taking a step back, it’s clear this problem is not limited to classical music. In 2024 63% of acts booked at UK music festivals were either male or all-male groups and there are four men signed to UK record labels for every one woman. Men also hold much of the decision making power, with the majority of senior roles in music filled by men. This wide-ranging gender inequality is summarised in the latest report from the Women and Equalities Committee, Misogyny in music: on repeat, published on 4 June 2025, which concludes: ‘Misogyny remains deeply rooted in the music industry.’

It’s unsurprising, then, to find similar culture issues at play in the classical canon. As a predominantly classical music festival, the Proms draws on a canon of works written for centuries almost exclusively by white men. While individual works have gained and lost canonic status over time, the idea of ‘the canon’ is still a significant influence on programming.

Academics such as Marcia Citron have questioned why women have been so marginal to the formation of the canon. But what was made by humans can be changed by humans. Indeed, the BBC has committed to gender equality in its Proms commissioning and has exceeded its 2022 target of commissioning half of all new works from women. Yet gender balance is not just about the number of women who are represented at the Proms. As Donne’s report reveals, there is still a striking inequality of stage time. In 2024, although 47% of the Proms featured a work by a woman, it was usually a single short piece”.

PHOTO CREDIT: cottonbro studio/Pexels

There is widespread discrimination and sexism, especially in Classical music. Whereas female composers who are more experimental or bring in Electronica might be able to get more opportunity and focus because of its proximity to more gender-balanced and less sexist genres, there is no arguing the fact that there are so many brilliant female composers and players that are not being given opportunities and exposure. This article from last year documented research that showed how women are denied festival spots and opportunities in recording because of sexism and misogyny in Classical:

“A discordant chord over sexism in the classical music world has sounded again. The head of one of the most prestigious competitions is calling for the industry to confront an apparent bias that is holding back female pianists from pursuing concert careers, however brilliant their talent.

Fiona Sinclair, chief executive of the Leeds International Piano Com­petition, told the Observer that female pianists are failing to reach the top of their profession despite an equal number of men and women now training at conservatoires.

She said: “Fewer than 23% of career pianists are women, yet in the conservatoires it’s roughly 50:50. As they leave college, the men soar while the women are not getting opportunities. The more we get into actual statistics, it’s clear that something’s broken. The problem persists at the top piano level – festivals, recordings, venues – with men generally dominating everything.”

I’ve heard it said that women are not as good at music as men, they don’t practise, they can’t play big heavyweight concertos

Vick Bain, former Independent Society of Musicians president

The 2024 Leeds competition has introduced new measures, including “blind” pre-selection rounds to disguise genders and “unconscious bias training” for the jurors, who will not have a musician’s name, nationality, age or conservatoire until an advanced round.

Sinclair said they needed to take action as “only 18% of the most recent top 40 international piano competitions have been won by women”.

Those are just a couple of examples from recent times where sexism and discrimination is laid out. If modern composers like Jessie Montgomery, Jennifer Higdon, Unsuk Chin, and Julia Wolfe are being recognised or are winning awards, there is not enough being done, firstly to ensure that women feel safe and respected. It is not only discrimination and decades (or centuries) of sexism. There is also sexual abuse running rife. Canadian violinist Lara St. John is a survivor of sexual abuse and is calling for change. Perhaps part of a different but no less urgent and important conversation, it is heartbreaking that it is so much harder for women to shine and be recognised as composers. If they step into Classical, then there are these barriers and huge problems. I am casting my mind to an article published in April by NRP. It concerns violinist Esther Abrami, who realised the hundreds of pieces she has played and been brought up on were by men. She uncovered hidden treasures from amazing, undiscovered and ignored women. Is this a position we are going to be in a decade or two from now?! The combination of great women not being fully recognised and having their work hailed and sexism and discrimination making gender bias and imbalance a toxic hurdle, you wonder if things can ever change:

“The first time Esther Abrami saw a violin, she was just 3 years old. Little did she know at the time, it would be the start of a lifelong love affair.

The instrument belonged to Abrami's late grandmother, Françoise.

"She gave up the violin when she got married," said Abrami, now a rising violinist who's toured across Europe and China. "I kind of took where she left and kept going."

Abrami translates that tale of inspiration in "Transmission," her first recorded composition, as part of a new album out last Friday. The soaring melody has a cinematic feel, breaking into arpeggiated chords accompanied by the Vienna Radio Symphony Orchestra.

"It's a composition that I feel very emotional playing, and recording it also felt very special," Abrami told NPR's Michel Martin.

The album Women features the world-premiere studio recording of Irish composer Ina Boyle's Violin Concerto (1935), which evokes bucolic scenes with the feel of a tone poem.

Boyle has largely been forgotten, something she shares with several of the 14 composers and songwriters on the album, including Brazil's Chiquinha Gonzaga (1847-1935) and Venezuela's Teresa Carreño (1853-1917).

And so it is rather apropos that the orchestral works on the album are conducted by Irene Delgado-Jiménez, who recently completed a two-year fellowship in the conducting incubator led by Marin Alsop, the first woman to lead a major American orchestra.

Among the living composers on the album are Oscar winners Rachel Portman and Anne Dudley — who are both British — Miley Cyrus via an arrangement of "Flowers" and Yoko Shimomura with her "Valse di Fantastica," a theme from the video game Final Fantasy XV.

After completing her studies when she was 25, Abrami realized "in all those years, I'd learned hundreds of pieces, but not a single one of them had been written by a woman," said Abrami, now 28. "And then I started kind of doing my own journey and my own research, and it was like opening the door of a hidden treasure."

Boyle's teacher Ralph Vaughan Williams, one of the most celebrated British composers of the early 20th century, reportedly told her: "I think it is most courageous of you to go on with so little recognition. The only thing to say is that it sometimes does come finally."

And that, perhaps, is the whole point of Abrami's latest recording endeavor.

"Hopefully, in 10 years, it won't be needed to have an album titled Women," she said. "But for now, we still have to do so much, to push so much to be able to even come to something that is close to being equal in terms of, for example, performing works by women. And we are so, so, so far off still."

Last year, the Donne Foundation, which keeps track of women in classical music, found the number of works by female composers being performed by global orchestras had slightly dropped in the previous season, to just 7.5% of the repertoire.

Abrami said part of why she's active on social media is to try to change those numbers and inspire young aspiring musicians. "I see the impact that has on little girls... Little girls who came to my concerts and said that my social media and my videos on YouTube have inspired them to start on the violin, now they are coming to me saying, 'I played a piece composed by a woman, I asked my teacher to to play a piece composed by woman”.

I started off by discussing Hannah Peel and my admiration for her work. Go and check her music out on Bandcamp. In terms of addressing ongoing discrimination, sexism and abuse, it is women within the industry exposing the truthy and calling for change, rather than those in power and their male peers. Also, when it comes to female composers past and present who should be heard and are not being given their dues, how does this shift?! Maybe a book written about it and documentaries. Incredible women like Rebecca Clarke are finally getting their dues. In terms of generations and age, I imagine there are a wave of brilliant women in their twenties, thirties and forties, who are composing incredible music. Whether for stage or screen or as part ofg an orchestra. They might be artists composing conceptual pieces and making their own albums. There is rarely any talk about them or that much outrage regarding the reasons why. A combination of Classical and other areas of the industry not willing to progress, and this wider practise of sexism. As recent reports outline, women are facing pay and gender discrimination. Women in CTRL, a movement working towards an industry where ‘talent transcends gender’, supports The Women Musicians Insight Report. Those words by Esther Abrami strike a chord. How she was immersed in work by male composers and had to go on this quest to unearth these hidden gems by women. Today, I do wonder how much incredible work we are discarding or not bringing to light because they are by women. Whether carrier barriers and gender discrimination will ever be erased. Their voices and phenomenal talent should be allowed to be heard and flourish as it is…

SO vital and important.