FEATURE: The Year in Review: The Best of 2016 and What to Look Forward to in 2017

FEATURE:

 

The Year in Review:

 

 

The Best of 2016 and What to Look Forward to in 2017

_________________

WITH every passing year in music…

it is down to those who have followed its fate to encapsulate it the best they can. I have been keeping my eyes on some fantastic musicians and already compiled a three-part list of the artists to follow in 2017 – I will be going into more depth in my next feature (at the weekend). Not only do I look at the musicians who are worth your time and energy next year: I highlight the albums and songs from the mainstream that have suitably rocked my (and critics') foundations.

This year, the mainstream has really stepped in the groove – or some less tragic sentence construct – and produced an army of wonderful albums. It is hard to take in the sheer array of sounds and songs laid to tape throughout 2016. I am not exaggerating when I say the last twelve months have been among the most productive and surprising in recent years. Not only is the sheer variation of music beguiling: the quality of the albums produced adds new magic, wonder and weight to this decade. While the critics have spoken and decided upon their favourite albums of the year; I have had a think and published my list of the best albums of 2016 (https://musicmusingsandsuch.wordpress.com/2016/11/12/feature-the-ten-best-albums-of-2016-so-far/). You can see, looking at the rundown, there is a proliferation of British artists mentioned. I have listed Beyoncé’s Lemonade among the top-ten – a view shared by most critics who consider it to be 2016’s greatest album. Aside from emotional and majestic offerings from Leonard Cohen, David Bowie and Nick Cave and the Bad Seeds; there has been a counterbalance of more hopeful and uplifting records.

https://play.spotify.com/track/0XCY64KMjWSZICdrFHW9jS

Julia Jacklin’s Don’t Let the Kids Win sits in my ten choice albums from the year and with good reason. The Australian newcomer addresses issues of loneliness, maturity and love with surprising originality and passion. Her voice has that mix of natural accent and universality – you cannot listen to Jacklin sing and not be affected and feel safer. Her songwriting investigates common themes but does so with her own bent and perspective. Jacklin, whilst preparing the album, was seeing her friends and family settle down and get married. She, by comparison, felt rather undeveloped and behind everyone else; maybe feeling left behind and abandoned. In actuality, Jacklin was far ahead of her peers (and family). By being different and aside from the crowd – or an ambitious and creative young woman – she created an album that brimmed with candour and colour; life and beauty – one of the most impressive debut albums in recent years.

https://play.spotify.com/track/4CzTgOmc3Sdm4EgKQWzjQl

Not to be intimidated by expectation, competition and pressure: Radiohead followed up The King of Limbs with the sensational A Moon Shaped Pool. Employing a lot of the same emotional, orchestral elements of its predecessor: the band stepped fully into strings territory and came up with an album of immense grace, tenderness and splendour. Thom Yorke’s voice has never sounded as rich and impactful whilst the songwriting was up there with the band’s peak – the period between The Bends and Kid A. Opening song/lead single Burn the Witch is a nervy and highly-charged song that looks at immigration and those who point fingers at others; a general panic and hysteria that sweeps people. Ful Stop is all-kinds-of nervy and fast-flowing whilst True Love Waits sees an old Radiohead song finally get into the studio. Everything together and Radiohead produced an album that not only matched their biggest records but shifted their sound without losing credibility and focus.

https://play.spotify.com/track/6ulet7v2KicrXN6RIEXjeQ

Whilst Julia Jacklin provided music of memorability and marvel on her debut album: Michael Kiwanuka crafted a sophomore record that was, in some ways, stronger than most albums released this year. Love & Hate is a seismic leap from his debut, Home Again. Not only are the songs stronger and more ambitious but his voice shows more shades and possibilities. Epics such as the title track prove what confidence Kiwanuka has; Black Man in a White World a song that looks at the hero (in a white world) and the isolation felt – arching the microscope to the wider world and the racial issues that are rife. One More Night is a pure and delicious song that frames an immaculate voice – one that compares to Soul greats like Otis Redding, Marvin Gaye and Sam Cooke. Although Love & Hate lost out to Skepta’s Konnichiwa at the Mercury Prize ceremony - that is no disservice to a phenomenal record from one of Britain’s brightest stars.

See also: https://musicmusingsandsuch.wordpress.com/2016/12/05/feature-the-five-best-tracks-of-2016-michael-kiwanuka-love-hate/

[youtube https://www.youtube.com/watch?v=xNAmwWBy0nw&w=560&h=315]

Scour the endless lists of 2016’s best albums and you will struggle to find Billie Marten’s Writing of Blues and Yellows among them. Not only it is a huge omission and oversight but shows just how few, supposedly 'cultured' musical ears understood an album of such beauty and maturity. The debut album from Marten explored loneliness and mental illness; yearning for courage and the need to explore the world at large – all startling considering the Rippon singer-songwriter is still seventeen. Emily is my second-favourite song of the year – and one I will look at more later – and a musical offering that unveils a new layer of skin every time I hear it. Heavy Weather, Lionhearted and Bird are songs that promote exceptional songwriting and some a truly remarkable, adaptable voice. Green and Milk & Honey offer more bounce and uplift whilst Unware is perhaps the most nuanced and mysterious song on the record – once heard, it gets into the soul and compels one to think and imagine. The entire record has no weak moments, although Marten’s natural modesty might beg to differ, and points at a very bright and long future for our finest young songwriter.

See also: https://musicmusingsandsuch.wordpress.com/2016/12/13/feature-album-of-the-year-billie-marten-writing-of-blues-and-yellows/

[youtube https://www.youtube.com/watch?v=eCS4OTgaHeM&w=560&h=315]

Among my choice five songs from this year is an inclusion from Billie Marten but one from a woman she is often compared with - the wonderful and peerless Laura Marling. Little had come from Marling in 2016 beside her project, Reversal of the Muse. That interview series was designed to highlight how few women are seen behind-the-scenes in music and how that needs to change. Few expected any new music from her; so when Soothing arrived there was huge excitement and relief. After 2015’s critical-acclaimed Short Movie you wondered what direction Marling would take. The lead single from the forthcoming Semper Femina sees twangy Jazz bass lines score a song where the heroine’s lips are not moving: she needs soothing and comfort; she’s brooding and looking for something raw, honest and immediate. There have been suggestions of such emotions from Marling but never quite as overt and affecting. One of her finest, most beautiful vocals prove Marling is not only one of the world’s most surprising and consistent artists but someone who always conquers any territory she decides to traverse.

See also: https://musicmusingsandsuch.wordpress.com/2016/12/02/feature-the-five-best-tracks-of-2016-laura-marling-soothing/

[youtube https://www.youtube.com/watch?v=yI2oS2hoL0k&w=560&h=315]

I have mentioned Radiohead and Billie Marten in my rundown of this year’s best albums and both made it into my top-five songs of the year. Radiohead’s Burn the Witch came out of nowhere and introduced us to the masterpiece that is A Moon Shaped Pool. A bit of a red herring of sorts: nothing on their eighth album contained the same dark energy, moodiness and strange entice (maybe Ful Stop?). It is my pick of the year’s songs because of the excitement that surrounded its release. Any Radiohead record is a thing of wonder but there was particular mystery surrounding A Moon Shaped Pool. Conversely, Billie Marten’s Emily was not released as a single: it is the fourth track on her debut album and few publications, in so much as they overlook the album, highlight Emily as one of their standout songs of 2016. It only takes one spin of the track for it to get under the skin and into the head: harder to explain all its complex strands and all the elements that go into the song.

See also: https://musicmusingsandsuch.wordpress.com/2016/12/06/feature-the-five-best-tracks-of-2016-radiohead-burn-the-witch/

https://play.spotify.com/track/3IqSUhhlnTjWfbahlMxvKP

See also: https://musicmusingsandsuch.wordpress.com/2016/12/01/feature-the-five-best-tracks-of-2016-billie-marten-emily/

[youtube https://www.youtube.com/watch?v=U3YZTYXftzg&w=560&h=315]

Among those songs that stand out to me; there are few quite as inexplicably rousing and exciting as M83’s Go! It did not make my top-five but is definitely one of the greatest ten – Michael Kiwanuka’s Love & Hate and Jamie T’s Tinfoil Boy complete my favourite five songs. M83’s album Junk was met with mixed reviews for a few reasons. Sense-tingling jams like Road Blaster and Laser Gun were singled as clear highlights but too many fillers distilled their essence somewhat. One of three album tracks that feature Mai Lan: Go! is as urgent and emphatic as its title suggests. That chorus is unbeatable in its catchiness and memorability. You cannot help sing along and let the jubilant instrumentation move the body. Despite the fact the song was used on Made in Chelsea – the death knell of any song/soul – cannot detract from the rainbow-burst delight and infantile delirium of the song.

95/100

Skeleton Tree

Nick Cave & the Bad Seeds

Sep 9, 2016

[youtube https://www.youtube.com/watch?v=xKq39e7SBOE&w=560&h=315]

92

Lemonade

Beyoncé

Apr 23, 2016

[youtube https://www.youtube.com/watch?v=PeonBmeFR8o&w=560&h=315]

92

You Want It Darker

Leonard Cohen

Oct 21, 2016

[youtube https://www.youtube.com/watch?v=oHgCXhY6kZ0&w=560&h=315]

90

We Got It From Here...Thank You 4 Your Service

A Tribe Called Quest

Nov 11, 2016

https://play.spotify.com/track/203xmWRHAyqwW6AkGkhhVM

89

A Seat at the Table

Solange

Sep 30, 2016

[youtube https://www.youtube.com/watch?v=YTtrnDbOQAU&w=560&h=315]

88

American Band

Drive-By Truckers

Sep 30, 2016

[youtube https://www.youtube.com/watch?v=7Nf5uWB6xgc&w=560&h=315]

88

A Moon Shaped Pool

Radiohead

May 8, 2016

https://play.spotify.com/track/01ZpFhrMMqKPVCwyqXneVp

88

Black America Again

Common

Nov 4, 2016

[youtube https://www.youtube.com/watch?v=nPOxEo7NtpQ&w=560&h=315]

87

Upland Stories

Robbie Fulks

Apr 1, 2016

https://play.spotify.com/track/1f6e7MTVPV3Anl9IIfExrs

87

Blackstar

David Bowie

Jan 8, 2016

[youtube https://www.youtube.com/watch?v=y-JqH1M4Ya8&w=560&h=315]

Courtesy of http://www.metacritic.com/browse/albums/score/metascore/year/filtered

Before I come to look at things that will make 2017 a much rosier proposition (than this year); I wanted to focus on a few artists that will help turn 2017 into a stunning year for music – as forecast by some of the most important music sites/journalists out there:

Be Charlotte

PHOTO CREDIT: Murray McMillan Photography

“The Scottish three-piece is fronted by singer-songwriter Charlotte Brimner, who has received accolades for her fluid use of analogue and digital sounds. Brimner has a wonderfully expressive vocal range that she incorporates with spoken word, rap and beatboxing”.

[youtube https://www.youtube.com/watch?v=B-PKNxX5Oo4&w=560&h=315]

Courtesy of http://www.independent.co.uk/arts-entertainment/music/features/ones-to-watch-2017-new-music-aj-tracey-dave-nadia-rose-jain-tom-grennan-a7466201.html

Follow: http://iambecharlotte.com/

Anderson.Paak

“Brandon Anderson .Paak has come a long way since he first played drums in his local church, aged 11.

A multi-instrumentalist, singer and producer, he is signed to Dr Dre’s Aftermath label, and appeared on six tracks of the producer’s Compton album.

Dre snapped him up after hearing Suede, a charismatic, raunchy single by his NXWorries side project. But before that, Paak had spent almost a decade struggling on the periphery of the music industry, including a period in which he found himself homeless after losing his job on a marijuana farm.”

[youtube https://www.youtube.com/watch?v=y_Ka5wiQBEw&w=560&h=315]

Courtesy of http://www.bbc.co.uk/programmes/profiles/2LyNfnCgPj9Pz12Xvlb2mzW/anderson-paak

Follow: http://www.andersonpaak.com/

Yohuna

 

PHOTO CREDIT: Brian Vu

“Johanne Swanson has lived in many places, but hasn’t felt particularly at home in any of them. She started making music as Yohuna six years ago while on a year-long exchange program in New Mexico, a long ways away from where she grew up in Wisconsin. “I wanted to be in a radically different environment,” she recalls. “It was the first place I lived where I didn’t know anyone.” That isolation led her to the internet and an old Casio keyboard, both of which she used as a means to connect to the rest of the world”.

[soundcloud url="https://api.soundcloud.com/tracks/268958681" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Courtesy of http://www.stereogum.com/1885174/artist-to-watch-yohuna/franchises/interview/

Follow: https://www.facebook.com/yohuna/

Maggie Rogers

 

PHOTO CREDIT: Vogue

“From Maryland to New York via Europe, singer-songwriter Maggie Rogers’ physical journey has influenced her developing musical style.

Aged nine, she learned to play the harp and the banjo, and her early songwriting explored folk music. By the time she reached middle school, she’d added the piano and guitar to her repertoire, but a trip to Europe changed her outlook on music.

“I studied abroad in France and had a really spiritual experience with dance music there,” she explains.

“Suddenly this thing that had always been the most unnatural and the most artificial, I understood the release of it. That since there was a fire, people have been beating sticks together.”

She returned to New York to study songwriting and production, receiving an unexpected break when Pharrell Williams dropped into her class to give some tips”.

[youtube https://www.youtube.com/watch?v=PNWsW6c6t8g&w=560&h=315]

Courtesy of http://www.bbc.co.uk/programmes/profiles/40CjKpkBQ4kCW1G5HB38mdF/maggie-rogers

Follow: http://www.maggierogers.com/

Jain

 

“Jain is a French singer already blowing up in her native France, along with Russia and Poland - her debut album Zanaka went  to No. 5 in the French album charts, and her label have just begun pushing her name here with some incredibly catchy songs”.

[youtube https://www.youtube.com/watch?v=59Q_lhgGANc&w=560&h=315]

Courtesy of http://www.independent.co.uk/arts-entertainment/music/features/ones-to-watch-2017-new-music-aj-tracey-dave-nadia-rose-jain-tom-grennan-a7466201.html

Follow: http://www.jain-music.com/en/

Hippo Campus

“Grand Jury Records has signed some talented artists in the past few years (including Day Wave and Mothers). One of their recent up and coming signings is a four-person indie-rock outfit from Minnesota called Hippo Campus. Don't let the name fool you -- the band creates timeless, dreamy soundscapes that will remind you of ANOHNI”.

[youtube https://www.youtube.com/watch?v=1LWsT7kqVoE&w=560&h=315]

Courtesy of http://www.papermag.com/10-artists-to-watch-in-2017-2145704992.html

Follow: http://hippocampusband.com/

Serpentwithfeet

 

“Baltimore-born artist Jonah Wise combines sensualism with spriritualism for what he once referred to as "pagan gospel", but has since renounced that term. 

His five-track EP blisters, which was barely 20 minutes long, is an exquisitely crafted work that is not unlike walking through a hall of mirrors. It twists slowly, through ominous drums and bursts of static; pulled together by Wise's shivery, soulful voice”.

[youtube https://www.youtube.com/watch?v=5a4N_lOAieA&w=560&h=315]

Courtesy of http://www.independent.co.uk/arts-entertainment/music/features/ones-to-watch-2017-new-music-aj-tracey-dave-nadia-rose-jain-tom-grennan-a7466201.html

Follow: https://www.facebook.com/serpentwithfeet/

Cabbage

 

“With songs about North Korea and Donald Trump, Cabbage would run the risk of being pigeon-holed as a political band… if it wasn’t for their filthy sense of humour.

On the song Dinner Lady, singer and lyricist Joe Martin darkly recalls his real-life experiences of serving school meals over a slinky riff: “I got so bored and idle / Served enough sausage rolls to make me suicidal.”

"We think it's such a waste that bands have a platform to say things and just don't" says Martin, whose poetry is inspired by “the bard of Salford”, John Cooper Clark”.

[youtube https://www.youtube.com/watch?v=5Xw6KdAFZxU&w=560&h=315]

Courtesy of http://www.bbc.co.uk/programmes/profiles/17kRG2lDL3d4hyYqTWgHxwr/cabbage

Follow: https://www.facebook.com/cabbagelechou/

The Amazons 

“Reading four-piece The Amazons burst onto the new music radar with Stay With Me, a raucous burst of power chord energy, in March this year.

Produced by Tom Dalgety (Royal Blood, The Maccabees), the song was their first release after signing to the prestigious indie label Fiction Records, home to the likes of Tame Impala, The Maccabees and Nick Mulvey.

Over the next eight months, The Amazons emerged as one of the most exciting young bands to watch, garnering new fans and word-of-mouth praise through their energetic performances and an explosive sound.

The quartet arrived at their current line-up in 2014, working night shifts in supermarkets to fund their music, while releasing nascent recordings like Something In The Water and Junk Food Forever”.

[youtube https://www.youtube.com/watch?v=tGRIqw2Tpr4&w=560&h=315]

Courtesy of http://www.bbc.co.uk/programmes/profiles/4W52fKS1K26Vt3xFS6wkjrS/the-amazons

Follow: http://theamazons.co.uk/

Will Joseph Cook

“Will Joseph Cook is a sunny slice of pop that could brighten any number of rainy days. The 19-year-old singer-songwriter from Kent crafts witty, mature pop earworms that tackle tricky relationships and the everyday parts of life that worry all of us”.

[youtube https://www.youtube.com/watch?v=FJ66D7TcEWU&w=560&h=315]

Courtesy of http://www.independent.co.uk/arts-entertainment/music/features/ones-to-watch-2017-new-music-aj-tracey-dave-nadia-rose-jain-tom-grennan-a7466201.html

Follow: http://willjosephcook.co.uk/

Rag ‘n’ Bone Man

“Rory Graham, aka Rag‘n’Bone Man was always destined to make music.

Growing up in his parents' home in Uckfield, music was ever-present; whether it was his mum singing, his dad strumming on the guitar, or blues, rock and reggae tunes spinning from his dad’s record player.

As a teenager, he embraced hip-hop, MC-ing with a drum and bass crew and testing out his rap skills at open-mic nights. He then became a member of hip-hop collective The Rum Committee, while perfecting his singing skills performing at his local Blues Jam nights.

That melting pot of musical styles is evident in Rag'n'Bone Man’s solo material; which puts a modern twist on the raw soul of Joe Cocker.

In 2015, the emotive Bitter End, from his Disfigured EP, made many people sit up and take notice, and gained the singer support from the likes of Huw Stephens (Radio 1), MistaJam (Radio 1 and 1Xtra) and Jo Whiley (Radio 2)”.

[youtube https://www.youtube.com/watch?v=L3wKzyIN1yk&w=560&h=315]

Courtesy of http://www.bbc.co.uk/programmes/profiles/Xm2PccXxXvwNqRSpdxyBLN/ragnbone-man

Follow: http://www.ragnbonemanmusic.com/

Dua Lipa

“Dua Lipa’s deep, smoky voice and rhythmic flow that pulls from contemporary hip-hop, classic soul and pop has taken her into studios in London, LA, Stockholm, New York and Toronto, and into sessions with Emile Haynie (Lana Del Rey, FKA Twigs) and Andrew Wyatt (Miike Snow, Charli XCX). The honey-voiced songstress is set to release her debut album in early 2017, featuring an arsenal of songs rooted in pop but gilded by hip-hop and soul affectations; these are urbane musings on being young and mad; sharp and soulful pop parables about hustling for what you believe in”.

[youtube https://www.youtube.com/watch?v=mgI_pH8TOVY&w=560&h=315]

Courtesy of http://blog.pandora.com/us/artists-to-watch-2017/

Follow: http://dualipa.com/

Declan McKenna

“Appraisals of singer-songwriter Declan McKenna invariably mention his age. At 17 years old, the British teenager has already garnered the sort of buzz that many musicians twice his age would give anything for.

After winning Glastonbury Festival’s Emerging Talent Competition in 2015, Declan shot into the music industry’s spotlight, shortly afterwards self-releasing his debut single, Brazil.

This polemical debut, which lambasts FIFA's local community involvement at the 2014 World Cup, secured him national airplay with a coveted space on Radio 1’s playlist and a champion in Huw Stephens.

With support from BBC Music Introducing, 2016 saw him perform at Maida Vale, Radio 1’s Big Weekend and Later… with Jools Holland”.

[youtube https://www.youtube.com/watch?v=39r0QFD1oPM&w=560&h=315]

Courtesy of: http://www.bbc.co.uk/programmes/profiles/16mg6WRy5WvdX8Hfz5FK9Sv/declan-mckenna

Follow: http://www.declanmckenna.net/

Vagabon

PHOTO CREDIT: Ebru Yildiz

“In my country, and in a lot of countries, people still go to the well to get their water,” Vagabon’s Laetitia Tamko explains to me as she begins to reveal the metaphorical crux of one of her new songs. Tamko grew up in Cameroon before moving to New York in the early 2000s, and she instinctually refers back to her personal history to make this central point. Choosing her words extra-carefully, Tamko describes the ritual of going to a well in detail: “You walk it back to your house, you use the water or put it in a container, and then you do the same trip back,” she continues. “People don’t always check to see if there’s any more left after they’ve taken what they need”.

[soundcloud url="https://api.soundcloud.com/playlists/274717593" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Courtesy of http://www.stereogum.com/1908667/band-to-watch-vagabon/franchises/interview/

Follow: https://www.facebook.com/vagabonjour/

Billie Eilish

“If you haven't heard of Billie Eilish yet, don't worry, that's about to change. At only 14 years old, the pop chanteuse has the ethereal vocals of Lana Del Rey and the potential to be the next Lorde. We were taken by Eilish's track "Ocean Eyes" earlier this year, as it makes you feel like you're floating underwater”.

[youtube https://www.youtube.com/watch?v=FQ0iq10ULNA&w=560&h=315]

Courtesy of http://www.papermag.com/10-artists-to-watch-in-2017-2145704992.html

Follow: http://www.billieeilish.com/

Denzel Curry

“Denzel Curry first caught our attention in 2011 on his mixtape King Remembered via fellow Carol City rapper, SpaceGhostPurrp. Denzel joined the controversial underground crew RVIDXR KLVN and released a series of mixtapes and collaborations until moving on with other members to focus on solo work. The combination of ‘90s throwback vibes and bass music from Miami created a unique sound that cut through with collaborations featuring young, new artists (spawning the sound of A$AP Mob)”.

[youtube https://www.youtube.com/watch?v=q8VO4Rm3ulw&w=560&h=315]

Courtesy of http://blog.pandora.com/us/artists-to-watch-2017/

Follow: http://www.ultimatedenzelcurry.com/

Jorja Smith

PHOTO CREDIT: Chloe Newman

“Jorja Smith was working at Starbucks when she posted her first single, Blue Lights, onto SoundCloud this January.

Sombre and introspective, the song is a semi-autobiographical look at her childhood in Walsall in the West Midlands – referencing the number four bus she used to catch home, and the Mobb Deep song Shook One, which she used to mime in her bedroom.

Within a week, it had racked up 100,000 plays, earning shout outs from Drake, Stormzy and Skrillex. She brewed her last coffee soon afterwards.

Smith grew up around music: her father played in a band, Second Naicha; she was a chorister at school and wrote her first song, Life Is A Path Worth Taking, at the age of 11”.

[soundcloud url="https://api.soundcloud.com/tracks/293116291" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Courtesy of http://www.bbc.co.uk/programmes/profiles/4ZN1zrkfrMv7j7d6m5c450g/jorja-smith

Follow: https://www.facebook.com/jorjasmithmusic/

Kehlani

“Since releasing her attention-grabbing You Should Be Here mixtape in 2015 -- which later earned a Grammy nomination in the Best Urban Contemporary Album category -- Kehlani's career has progressed in carefully plotted steps. While most artists would follow a tape like Be Here with a steady stream of new projects, Kehlani mostly held back, limiting herself to a few feature appearances (Zayn's "Wrong," Belly's "You," Pusha T's "Retribution") and then releasing a slow drip of singles, including "CRZY," "Distraction" and "Advice." Her "Gangsta" was also on the soundtrack for the action blockbuster Suicide Squad, and benefited from the promotional blitz behind the film, as it peaked at No. 41 on the Hot 100. Kehlani is following her biggest hit to date with her debut album: SweetSexySavage, which arrives in January”.

[youtube https://www.youtube.com/watch?v=HPHbeSGVKJo&w=560&h=315]

Courtesy of http://www.billboard.com/articles/columns/hip-hop/7633323/rb-hip-hop-artists-to-watch-in-2017

Follow: http://www.kehlanimusic.com/

The Aces

“Four teenage girls front LA pop outfit The Aces. Together they create sun-soaked songs that are dancefloor ready. Their debut track "Stuck" is just enough pop and rock that it falls in the same vein as The 1975 and HAIM. This fall saw them sign with Red Bull Records, and hopefully a debut EP will be on the way in 2017”.

[youtube https://www.youtube.com/watch?v=vA6sDKKDx9Q&w=560&h=315]

Courtesy of http://www.papermag.com/10-artists-to-watch-in-2017-2145704992.html

Follow: http://theacesofficial.com/

Before wrapping this mamma jamma of 2016’s music up let me give us reasons to be cheerful next year. You don’t need me to tell you how fraught this year has been for music: legends leaving us and many praying we make it to 2017 without any further deaths (at the time of this feature nobody else has passed). To be fair, there has been a tonne of great music produced – and wonderful acts primed for next year – to keep the tears at bay and provide hope. In case you need a few more pick-me-ups; here is a list of things that will make 2017 a lot finer than this year.

Radiohead Will Play Glastonbury

As we have heard from the organisers themselves (http://www.glastonburyfestivals.co.uk/radiohead-confirmed-as-first-glastonbury-2017-headliner/) it looks like Radiohead are all set for their third visit to Glastonbury. On Friday 23^rd June they will play the Pyramid Stage armed with more songs than ever – following the release of their latest album, A Moon Shaped Pool. Anyone who witnessed their – legendary and epic – set at 1997’s Festival will be primed and hungry for more. It is likely to be a fantastic gig and reminder of just how crucial and needed Radiohead are in modern music. Before they take to the stage, here is their 1997 turn and a reminder of what they brought to the Glastonbury throngs

[youtube https://www.youtube.com/watch?v=15kZdLaIU7I&w=560&h=315]

It’s Not 2016 Anymore (Almost)!

Any year that isn’t 2016 is a good thing, right?! The fact we are about to depart from the worst year in living memory (for musical deaths) can only be a good thing: let us hope a more prosperous and happy one is upon us. For those who need a reminder of the talent we have said goodbye to in 2016, I compiled a playlist from the legends gone and just why they will always be remembered.

See also: https://musicmusingsandsuch.wordpress.com/2016/12/26/feature-2016-the-legends-and-the-legacy/

Greater Diversity in Music

My last feature looked at racial diversity in music and hope the landscape is becoming less homogenised. Of course, we are some way off seeing true equality (for black acts) but positive movements have been made. With BBC producing an Urban-heavy ‘Sounds of…’ list for next year; Skepta scooping the Mercury Prize and some wonderful albums from black artists in the mainstream – it seems 2017 will be more diverse and provide greater exposure for black artists.

See also: https://musicmusingsandsuch.wordpress.com/2016/12/27/feature-race-in-music-are-we-starting-to-see-equality-for-black-artists/

Amazing Music and New Talent

PICTURED: The Japanese House

I have included many of the acts being lauded and tipped by tastemakers: those artists destined for big things in 2017. In my next feature, I will be collating a selection of acts I feel will be making waves in the underground – off the back of my three-part ‘Ones to Watch 2017’ feature. Not only will some of mainstream’s titans be making new music but a whole new crop of albums and songs will arrive from those fresh and eager. Take a look at the lists compiled by magazines and music sites as there are so many great artists waiting to be discovered: next year’s music will be busy, bright and truly memorable.

New, Big Albums Arriving

PICTURED: You Me at Six

Already confirmed – to be released early next year – are records from the likes of You Me at Six (Night People on 6^th January), The Flaming Lips (Oczy Mlody on 11^th January) and The xx (I See You on January 13^th). Into February we have Elbow’s Little Fictions (3rd), Alison Krauss’ Windy City (17^th) and Ryan Adams’ Prisoner (17^th). The Jesus and Mary Chain and Nelly Furtado release material in March and Deep Purple in April.

[youtube https://www.youtube.com/watch?v=XQl5KYiiFDI&w=560&h=315]

PICTURED: Gorrilaz

Albums speculated for release include efforts from Arcade Fire, Depeche Mode and Fleetwood Mac; Gorrilaz, LCD Soundsystem and The Shins. Of course, there are likely to be some surprise releases and albums dropping out of nowhere – maybe Radiohead will be busy again?! I know the short collection of names above are likely to feature this time next year when we look at the best albums of 2017. We need good music to lift the spirits and inspire the mind. I know next year will provide us so much awesome music: we have incurred a lot of loss and deserve the comfort music provides. Keep your eyes out for some exceptional albums in 2017.

[youtube https://www.youtube.com/watch?v=IzfQCsDTORM&w=560&h=315]

Source: https://en.wikipedia.org/wiki/List_of_2017_albums

Summer is Almost Here!

We are all fed up with the dark and cold so the fact summer is not too far away should bring cheers and relief. With summer comes festivals! Look at The Festival Calendar (http://www.thefestivalcalendar.co.uk/) and you get a run-down of all the best festivals you should be aware of. Aside from August’s Reading (and Leeds) Festival – where Muse are headlining – you have Glastonbury and Radiohead’s much-fabled appearances. Wilderness Festival will come to Cornbury Park Estate on 3^rd August; V Festival is on 18^th August whilst Lovebox arrives at London’s Victoria Park the month before (14^th July).  Throw into the mix Bestival (7^th-10^th September); many others for the British public to get their teeth into. If you fancy leaving the country then https://www.everfest.com/music-festivals provides more depth on the international festival dates. There is no excuse to sit around and bemoan the lack of great live music. That, on its own, should be enough to eradicate the memories of this year and ensure that 2017 is…

A much happier year than 2016.

FEATURE: Race in Music: Are We Starting to See Equality for Black Artists?

FEATURE:

 

Race in Music:

 

Are We Starting to See Equality for Black Artists?

__________________

NOW that the Christmas period is (effectively) past its…

IN THIS PHOTO: Jorja Smith - included on the longlist of BBC's 'Ones to Watch...' 2017

IN HEADER PHOTO: Chance the Rapper

finest and most relevant days; I have been looking at this year’s music and the work that has come to define it. I bring this rather thorny and heated issue up because I feel 2016 has, aside from its relentless bad news, brought us some form of equality in music. You may be sitting there assuming music, as opposed to the wider world, is equal. Nations like the U.K. and U.S. are meant to be more humanitarian, smart and sane – compared with the developing countries of the world. Britain has decided to leave the European Union and – for those Brexit voters – whatever spin you put on it there is a racial motivation – not wanting to integrate and live with foreign neighbours. The U.S. has voted-in a President as bigoted and racist as you are likely to see. Donald Trump, one suspects, is that type of racist who says he cannot hate black people because his second cousin twice-removed has a black lady working for him. Unaware of the appallingly unacceptable nature of his mindset: he is happy to live in a 1950s’ world where the wife should be cooking, domestic violence is just a good way of sorting a child’s (bad) posture out and those of different skin colours should know their place. Anyone who says two of the most powerful nations on earth are all-loving, rational and lack racist blood are really rather deluded. What does this have to do with music?

IN THIS PHOTO: Stormzy

Well, I know musicians are, by and large, smarter and more inspiring than your ‘average’ citizen but does that apply to the decision-making labels and the poll-makers? Over the past few years – decades in fact – accusations have been levied towards award panels their membership is too white, middle/old-aged and male-heavy. If other sectors of society have equality and balance: music is still defined by the all-boys’ club image and an unwillingly to budge to the changing times.

The Brit Awards, among the most culpable, has been forced to change its membership and dynamic in order to fit into the twenty-first-century.

It seems odd, in this modern day, we should be talking about race as an issue – maybe I am naïve but The Stone Age has really not passed by, has it?! With artists like Big Narstie, Stormzy and Lady Leshurr speaking out about the issue: the Brit panel is now recruiting black judges and ensuring their committee is less homogenised. This is good but it makes you wonder why NOW this decision has been made?

IN THIS PHOTO: NAO - who came third on BBC's 'Ones to Watch...' 2016

In my reviews, I draw parallels by the state of 2016’s politics and music but there is no coincidence. As our leaders, and the majority of our population, are content on separating themselves from the rest of the world – music must be more dignified and prove itself to be a fairer and more loving thing. Those who say music is still lacking diversity and equality might have an argument, that being said. The Brit Awards ‘debacle’ shows how there is an ingrained mentality where it is acceptable to have an all-white judging panel. I keep mentioning the black population and not Asians – the reason I do this is because I feel there are a lot more black musicians (compared to Asian) and fewer opportunities for them. Even though about three-percent of the U.K.'s population is black (as per the 2011 census), that is not to say the black population should be a minority. If politics and insane voting patterns have shown anything this year it is how fractured and hateful the world is becoming. Musicians are part of a beautiful and inspiring art form that promotes togetherness, brotherly/sisterly love and compassion. It is only when you look at voting panels and the faces behind the scenes you can see how changes need to be made. It is not just race that needs to be addressed by sex too – that might be for another day.

IN THIS PHOTO: RAYE - included on the longlist of BBC's 'Ones to Watch...' 2017; PHOTO 

It is clear institutional improvements need to occur and reappropriation start as soon as possible. Whether a greater percentage of black faces on the Brit voting committee will spark change across the board, I am not sure. One recent event that really sparked anger (in me) was the reaction to Beyoncé’s performance at the CMA Awards. She performed Daddy Lessons with Dixie Chicks and was greeted with grumble, criticism and downright prejudice. The excuse was, for such a heated reaction, the award ceremony has always had a set image and type of performer – in other words, whites-only, please. If you look at Country music and the lack of black faces it might not seem like a surprise. If areas like Nashville are more open-minded and racially sensitive than one would imagine, bodies like the CMA have that Deep South, U.S.A.-for-the-whites psyche that drags America into a Neolithic tar pit. You can understand - but never forgive - the peanut-brained racism in individuals and smaller, insignificant parts of society. When this shocking racism occurs in music then something has to be done.

[youtube https://www.youtube.com/watch?v=meP1neJrguw&w=560&h=315]

Both Beyoncé and Dixie Chicks responded to the incident with impressive maturity and fortitude. Whether the idiots at the CMA Awards will get into the modern world has yet to be seen but it is another flagrant example of race being an issue in music. ‘Tradition’ and image be damned: music is for every race, age and gender. The fact women are not seen behind-the-scenes and have to struggle for recognition is bad enough: when you see such prejudice in a beautiful industry then you have to stand back and ask questions. It is not just the award shows that have shown how out-of-touch they are.

If you look at festival line-ups we clearly see a (comparable) lack of opportunities for black artists.

I know the vast majority of bands are white – that is just the way it has always been – but one wonders whether that trend stems from a lack of opportunities for black musicians. I would love to see more black bands or those with one or two black members - but it is a rarity, I know.

[youtube https://www.youtube.com/watch?v=-OqrcUvrbRY&w=560&h=315]

Therefore, the majority of black musicians are solo artists and they (solo artists) get fewer chances to shine on big, festival stages. There is still that proliferation and emphasis on bands and their cachet. It is not like black artists are, as prejudicial minds might perceive, reserved to genres like Rap, Hip-Hop and Soul. Whilst there are a greater number of white artists across Rock, Pop and Indie (as opposed other genres) I feel this is not because of simple explanations – black artists’ heritage draws them to particular areas of music – but the attitudes and discriminatory nature of modern music. Artists like Beyoncé – who I shall mention in greater detail – are providing strength and inspiration but more needs to be done to address this issue. Festivals need to start putting more black artists near the top of the bill: not just in genres like Hip-Hop and Grime but more mainstream sectors like Pop. There are plenty of black Pop stars but, for the most part, we do not hear about them.

Essentially, I do not feel there is the equality in music there should be.

I am not accusing the industry of being racist but feel more effort should be expended to promote black music. Its artists are showing mettle and talent and that should be rewarded. Not as positive discrimination but as a way of opening up music and showing just how many great, world-class black artists we have among us – and having to fight harder to have their voices heard. Before I come on to the more positive side of the argument, I wanted to end with concerns about stereotypes and the way artists are pigeon-holed.

https://play.spotify.com/track/3xKsf9qdS1CyvXSMEid6g8

I have touched on genres many associates with black artists; that is only half the battle.

Recognising there are tremendous black musicians across every genre of music helps tackle the issues we have. Once we stop assuming certain styles are synonymous with a certain type of people then we will start to make real changes and be a lot more educated and open-minded.

It is not just black artists that suffer, but women too. I am not sure whether there is a correlation between black and female artists but both struggles when it comes to the band market. There are quite a few female-led/female-only bands but they are still in the minority. It is not just a case of women wanting to be solo artists (or part of a duo) but a certain expectation put upon them. In the past, strong girl bands like Destiny’s Child, En Vogue and Salt-N-Pepa inspired legions of girls/musicians to rise up and get their voices heard. I feel we have not moved on from the 1990s and learnt any lessons. I would love to see more female bands proffered and fewer discouraged against forming one – through fear they would be overlooked in favour of their male counterparts. Maybe black artists feel they will be passed over if they formed bands.

IN THIS PHOTO: Nadia Rose - included on the longlist of BBC's 'Ones to Watch...' 2017

It means, therefore, it is not just an issue of race but interconnected sexism. If music is to show how much more dignified it is compared with the rest of the world it needs to address issues of race and gender at grassroots sooner rather than later. We have seen so much tragedy this year in music; we must ensure next year has fewer deaths and more togetherness – ensuring there is more time committed to addressing race in today’s music and proactively addressing it. You cannot deny there is credence and truth behind my words but the argument is not that simple. Music is, or should be at least, a meritocracy and this makes some of my debate a little controversial. It is not a coincidence most of this year’s top-ten albums are made by black artists. I am not suggesting tastemakers and music sites are employing reverse-racism but they are finally waking up and being far less closed-off than previous years. The fact 2016’s elite records have been created by black artists is sheer quality and talent and nothing else. There is no political agenda or guilt-ridden need to redress racial imbalance – it is a case of pure quality, class and distinction. I will touch more on the artists and albums that have made this year but, given the fact this year’s greatest albums have been created (largely) by black artists raises the question: will 2017 see more time dedicated to promoting black artists and ensure they get an equal share of the pie?

IN THIS PHOTO: Izzy Bizu - included on the longlist of BBC's 'Ones to Watch...' 2016; winner of BBC's Introducing Award this year.

If one looks at BBC’s ‘Sounds of…’ list and we can see a marked shift between last year and this one. Out of the fifteen artists who made their longlist: just under half the nominees were black. Not only was Pop and Soul represented (Izzy Bizu and NAO) but Rap and Hip-Hop (Section Boyz, Loyle Carner and WSTRN). The list was still male-heavy – in terms of entries is was eight to seven in favour of the guys; the fact Section Boyz is a six-man crew tipped the overall numbers firmly into the XY chromosome section. There was, on that list, a blend of mainstream, radio-friendly artists and more credible, less-festival-approved acts too. The trouble is I feel the winner and overall top-five was flawed. Again, the top-five was largely male (WSTRN tipped the scale gender-wise (negatively) and racially (positively) but, I feel, the rankings were all wrong.  I wanted to see Section Boyz placed higher (they did not make the shortlist) and Billie Marten should have been in high in the mix.

IN THIS PHOTO: Jack Garratt - the winner of BBC's 'Ones to Watch...' 2016

Jack Garratt won the poll but I feel him and Blossoms, who came fourth, are more commercial and less effective than Izzy Bizu, Section Boyz and Loyle Carner.

It is impressive seeing black artists being included prominently in a longlist; but if there is a clear lack of quality recognition then it risks these lists being seen as tokenistic and irrelevant.

Past years the BBC has crowned out-and-out commercial artists as their winners - which has given their selection a very white and chart-made flair. This year, it looks like things can change and show greater evolution and progression. For the first year, the majority of artists on BBC’s ‘Sound of…’ list are black acts. Again, the list favours boys – due to the fact bands like Cabbage and The Amazons are there – but there are fewer outright commercial artists and more real and honest answers there.

[youtube https://www.youtube.com/watch?v=bIS8RhU8JQE&w=560&h=315]

Even the bands on the list are a lot grittier and less predictable than you might imagine. Ray BLK is a more real and relatable R&B/Soul artist compared with Izzy Bizu – both hail from the same neck of the woods yet Bizu is less spit and swagger than Ray BLK. RAYE and Stefflon-Don, between them, create sparkling wordplay and tight, stunning beats. Nadia Rose (Stormzy’s cousin) offers funky rhymes whilst Jorja Smith provides evocative, vintage R&B. In terms of the males of 2017’s ‘Sound of…’ (black artists) we have Anderson.Paak, AJ Tracey and Dave. Not just confined to genres like Hip-Hop and Rap – the boys provide plenty of silky Pop, intelligent wordplay and luxurious, divine music. I compare the polls because it shows black artists are not only being exposed and recognised but given a platform on one of the music’s world’s most prestigious polls. I hope, when the shortlist is announced, quality is considered over commerciality.

IN THIS PHOTO: Stefflon-Don -included in the longlist of BBC's 'Ones to Watch...' 2017

If I had to draw my top-five it would be Anderson.Paak, Jorja Smith and The Amazons in the medal places; Stefflon-Don and Maggie Rose in the remaining places. That would - if the decision makers have the same sense as me - place black artists in the top-two positions: it gives majority places (if not sheer numbers) to women without preening and pandering. I hope the final decision is largely reflective of my predictions but regardless: we are seeing black artists being acknowledged and not in a clichéd way. Before finishing with the best albums of this year, one momentous musical event of this year should not go unmentioned: the Mercury Prize win of Skepta. His scintillating album, Konnichiwa, shocked people for a number of reasons.

The Mercury nominees were largely white and male: the fact a young black artist won it was a refreshing and needed nod.

Not just the fact the predicted favourite – Davie Bowie – was toppled but Grime was recognised. Skepta’s Hip-Hop/Rap/Grime combinations address the realities of the street and open eyes to the issues of society often overlooked by the media – the fate of those on estates and the poorer trying to make their way. Of course, there is braggadocio and sloganeering on the album – making it palatable and popular with American audiences – but is remains a distinctly British and real album. Skepta’s victory not only shows what fantastic black music there is in this country but it helps bring lesser-celebrated genres more into the mainstream. It will not, as the winner and his contemporaries stated, completely change things: Grime still has to campaign in the underground and deserves greater backing and patronage but it is a positive change. Skepta’s May-released masterpiece has provided music the shot in the balls it needs to take notice and make changes.

[youtube https://www.youtube.com/watch?v=MQOG5BkY2Bc&w=560&h=315]

I am confident future Mercury ceremonies will see black artists and minority genres celebrated – not just the swathe of festival bands and critical darlings that have defined the Mercury Awards in years past. Does Skepta’s victory change attitudes to black music and bring about revolution? Short answer: no. There will be, in future months, changes in the way voting committees are composed and the type of music included in award nominations. What Skepta has done is show how real talent and passion should not be defined by race or gender. Strip away his skin colour and background and what is left is an album of unimpeachable energy, commitment and focus. The fact he is black neither deters not elevates the album: it shows how we, in the music industry, needless impose limitations on black artists and are entrenched in decades-old ideals and stereotypes.

IN THIS PHOTO: Section Boyz - included on the longlist of BBC's 'Ones to Watch...' 2016

Before closing; it is worth looking at the event that has confirmed how well black artists are faring in critical minds: the results of the end-of-year lists. 2016 has had to react to the fact many of its forefathers are departing at the rate of knots – mortality and unpredictability have slapped us like ice-cold hurricanes and we are seeing the current generation respond accordingly. This year’s best music has not only been defined by a more passionate, relevant and uncommercial sound but by some fantastic black artists. In past years, these end-of-year polls have been defined by albums from white artists; despite the fact the last two years’ best albums been made, in my esteem, by black musicians – Kendrick Lamar last year (and his album To Pimp a Butterfly) and D’Angelo and The Vanguard in 2014 – with the masterful, electric Black Messiah. This year’s best is not just a rare year, where black artists are leading the way, but a sign of things to come. 2017 might not see quite the same demographic breakdown as this year but one thing is sure: this time next year, we will start to see fewer polls defined by bands and white acts.

https://www.youtube.com/watch?v=WDZJPJV__bQ&list=PLHuzJLVjHOwnImCd7NMt21m835rMc519R&index=1

Given the fact so many ‘Sound of…’ polls are including black artists means there is a shift starting to happen. Whilst my top-ten album selection have seen more white artists noted – Michael Kiwanuka and Laura Mvula the exceptions – I am pleased to see the majority of critics arriving at a sensible consensus. On the 2016 poll-of-polls, the aggregated results from all of the end-of-year lists, we see Queen Bey leading the pack.

Her defiant, fingers-up-to-infidelity album, Lemonade, has been given the crown and sceptre. It is a glorious, rousing album that boasts some of Beyoncé’s finest vocals.

Never has she sounded as outraged and passionate as on Don’t Hurt Yourself – the moment she launches into that ecstatic, profanity-laden tirade must count as one of this year’s most exhilarating moments in music. Daddy Lessons is a rare hoedown – as is created by a New Orleans Jazz ensemble – that talks about parental ‘wisdom’ – her father holding a rifle in hand and urging to shoot those who cheat us. It is part of a collective mantra that scorns those who lie and screw with the pure at heart.

IN THIS PHOTO: Beyoncé

Whether you see it as an autographical response to Jay Z’s alleged indiscretions or a less personal survey of a certain type of man who can say (I feel the former is true despite Beyoncé’s repeated denial). Hold Up is a standout that sees the heroine being walked on and protesting how there is no man above hers – so why does she feel crazy and insecure; why is he making her feel this way? (the video sees Beyoncé armed with a baseball bat; smashing car windows whilst dressed in a canary-coloured dress. Despite the cavalcade of producers, writers and collaborators – including James Blake and Kendrick Lamar – it is Beyoncé who is the C.E.O. and chief – her voice and vision define Lemonade. Sandcastles is one of the most emotional songs of her career whilst swansong Formation is the album’s most-celebrated and mentioned cut – a political/socio-economical song that urges women to join hands and come together in unity.

IN THIS PHOTO: Beyoncé

There is no weak track on the album and it is the rightful soundtrack to this year. Look further down that list and we see only four white artists in the top-ten: David Bowie (Blackstar is second), Radiohead (A Moon Shaped Pool is eighth); Angel Olsen (My Woman at nine) and Mitski at number ten (with the much-overlooked Puberty 2). Frank Ocean’s Blonde was always going to get a high ranking (it is third) due to the sheer momentum, expectation and majesty of the performer. Ocean’s album was the most highly-anticipated record of this year and lived up (for the most part) to the hype. Solange’s A Seat at the Table was the surprise L.P. of the year. Few had heard of her as little as a year ago and realised what she was capable of. Beyoncé’s older sister (she is Solange Knowles) wrote for Destiny’s Child back in the day but embarked on her solo career in 2003 – her debut was met with mixed results due to its Pop sound derivative nature.

A Seat at the Table is a more independent, important and original work that addresses the plight of black people in the U.S. (and the world over); the unabated prejudices that runs rampant. More political and activist than Beyoncé’s Lemonade: Solange created a masterful work that brings issues or race and hate crimes right into the forefront.

The fact A Seat at the Table is placed so high up the rankings is not a reaction to the album’s themes – stop putting black people down and ignoring them – but an understanding of the quality, inspiration and passion that runs through it.

IN THIS PHOTO: Rihanna

I am not a huge fan of Rihanna but would have thought her album, Anti, would make the top-ten – it came in at twelve (on that same list). The fact it missed out is a result of heavy competition and no detriment to her talent. Say what you want about Kanye West, and most people do, but nobody can deny just how stunning and memorable The Life of Pablo is. Chance the Rapper’s Coloring Book was another surprise (but worthy) entry on the list and highlights a key talent who will continue to shine for many years to come. A Tribe Called Quest’s bittersweet album – it is their first since 1998’s The Love Movement but their last – We got it from Here... Thank You 4 Your Service (sans grammar check) is in the critics’ elite poll with good reason. Not only its collaborative spirit imbued in the artists included on the album – Jack White and Kendrick Lamar among the cohorts – but its proclamations and essential messages.

[youtube https://www.youtube.com/watch?v=vO2Su3erRIA&w=560&h=315]

Like A Seat at the Table, A Tribe Called quest have created an album that runs red with anger but its spirit of togetherness and racial equality shines. The humanism and arms-around-the-world positivity might seem more natural in the 1960s but it is a movement that is needed now more than ever. That desire to assimilate everyone on equal grounding, minus hatred and bigotry, is delivered with typically assured confidence, incredibly funky workouts and some of the most nuanced songs of this year – the musicianship and commanding vocals are a thing of wonder. A Tribe Called Quest have, like many of their black peers, used their musical privilege as a chance to address issues in society and the problems that affect them and their people.

It should not just be down to black artists to highlight racial hatred around the world. In the same way men/male musicians should do more to speak of gender inequality; non-black musicians need to do more to raise and combat the issues of race.

It is, like so many diversions, a topic for another discussion but I was thrilled to see We got it from Here... Thank You 4 Your Service given a nod – despite the fact its creators now depart the music world.

IN THIS PHOTO: A Tribe Called Quest

You do not need to be a devotee of The Kama Sutra to know black artists/people are being fu**** in all sorts of twisted and imaginative positions. It is not good enough that musicians should not only have to face such discrimination but have to fight so hard to have their voice heard. I have written this piece to show there are still problems in music and deficits but there are signs to suggest conscious decisions are being made. Whether the remainder of this decade is defined by further progressivism and a cure to the disease of racism then I am not sure. I hope with all my heart antibodies are discovered that eradicates the fetid, bilious smog that has polluted the musical landscape for far too long. Bring in a damned Geneva Convention for music and get it ratified: we need to castigate the old ways and bring about a milieu of fairness and deserved recognition – one where prejudicial attitudes and racism have no place whatsoever.

[youtube https://www.youtube.com/watch?v=YTtrnDbOQAU&w=560&h=315]

I have looked at the ways in which music has not got its act together but the simple fact is the music industry can only evolve as quickly as society allows it to. We cannot witness events like Trump’s regency – more like a medieval king preceding over a fiefdom than a democratic-minded President employing the Socratic method – and Brexit and say it is the way of things. Here are two majority votes that have underlined something rotten in people. Call it common sense or swaddle it in faulty logic: the truth is, both votes were defined by a need to isolate nations from foreigners and create a brighter, whiter nation. If music is to champion a way of life that stands so far away from the opinions of (the population of) America and Britain then what hope do we have?! Far from being all doom-and-gloom: we are seeing black musicians stand up and release astonishing albums. Judging panels are starting to look at their white boys in high-waisted elastic trousers and think: you know we need to start growing up and rebel against conventions, flawed as they are.

IN THIS PHOTO: Anderson.Paak - included on the longlist of BBC's 'Ones to Watch...' 2017

From Skepta’s Mercury win to the proliferation of black artists on the end-of-year lists; the BBC’s longlist of artists to watch in 2017: we are beginning to see something that suggests changes are occurring and a sense of equality coming in - at least an attempt.

2016 has seen too many musical deaths, and with it, the death of something greater: humanity, equality and simple logic. In all corners, genres and countries of music we have black artists showing just how vital and needed their voices is. Were we to deny it then we not only deprive people of truly outstanding music but are part of a mindset that finds it acceptable to margianlise black artists. Most of us (the record-buying public) want the same exposure and leverage for black artists (as white) but the issues seem to be systemic and, I am afraid, at the feet of music’s men. The sooner we overthrow the Old Etonian attitudes of the studio bosses, voting panels and decision makers then we can start to rebuild on much more solid and equal foundations. There is a lot of hope and potential. Many great black artists are coming through and we are beginning to see pregnable values of music penetrated and attacked. The fact this year, aside from the losses we have all incurred, has been defined by some of the best albums we have heard in years is, not only the result of black artists showing just how strong and vital they are, down to new trends emerging. Consumers are beginning to embrace and seduce music that speaks of truth, togetherness and positivity – even Beyoncé’s Lemonade has hopefulness and togetherness at its heart. Bands and ‘traditional’ music still has its place but we are seeing more and more people purchase and recognise artists who have something important to say - and do so with more passion and magic than you could possibly conceive. Say what you want, and call it is a minor step forward, but this kind of reality is…

IN THIS PHOTO: AJ Tracey - included on the longlist of BBC's 'Ones to Watch...' 2017

SOMETHING you cannot ignore.

TRACK REVIEW: Laura Saggers - When the Sun Met the Moon

TRACK REVIEW:

 

Laura Saggers

 

 

When the Sun Met the Moon

9.5/10

When the Sun Met the Moon is available at:

https://soundcloud.com/laura-saggers/when-the-sun-met-the-moon

GENRES: Pop; Dream-Pop

ORIGIN:

Santa Monica, U.S.A.

RELEASED:

November 2016

________________________

LAURA Saggers is an absolute dream of a musician...

- and human being for that matter. Not that personality and beauty are considered, or indeed that relevant when looking at a new musician. She is heartbreaking for so many reasons. Not only one of the most grounded, charming and generous musicians I have known: she seems to exude humanity and is comfortable when helping others; there is a spectacular beauty, not just on the outside but in her heart. Throw into that (sweet and soul-touching) mix and you have someone who is a reviewer’s dream. Saggers is a woman born in Buckinghamshire but based in L.A. She is taking her British wit and charm to the good people of the U.S.; seducing people with her wonderful smile, music and ambition. On the music front, she is, if that is possible, even more appealing and spectacular. I shall come to that very soon – bit of a tease, huh?! – but wanted to look at British musician (and international ones) moving to the U.S.; exceptional female musicians and the multi-talented grafters who deserve most attention – taking some time to look at 2017’s luminaries who are writing music that engages all the senses and digs deeper. I will also nod to the gender balance in music, but before I get to that, let us consider those that have left the relative safeties of the U.K. to go elsewhere. The U.S.A. seems to be a safe haven and calling for man musicians. If The American Dream is a dead concept in overall society – where Trump has turned that age-old vision into a dystopian, self-aggrandising taunt – there is still purity and purpose to that term when we consider musicians. If Donald J. is intent on transforming America into a whites-only, U.S.A.-for-Americans nation where illogical tyranny reigns: the country is, if anything, compelling more people to move there to bring their music to the people. After the extra-large selection box of crap this year has brought us: it is music where we can find reason, love and humanitarianism. It is this parapet of purity where togetherness and equality are encouraged. Although the U.S.’ music scene is busy away from Los Angeles; it is the city that still attracts the most amount of eager immigrants.

The rolling vistas and panoramic hills inspire the heart; the Hollywood sign in view and the perineal clemency a dream most of us lust after. Add to that a rich economy and spectacular, varied music scene and you have an absolute Mecca for the aspiring musician. London and the U.K. is still relevant – the world’s finest music city in my view – but issues like the diminishing club scene is leading our next generation of musicians to seek employment elsewhere. Given the folderol and fiasco around Fabric: it is no wonder there are nerves and Chinese whispers afoot. It is not just the U.K. that is donating musicians to the U.S. Nations like Australia and Canada and seeing a lot of their citizens make base in America. Although there is a cultural exchange dynamic – plenty of U.S. beauties coming here to take advantage of our metropolitan neon lights – I am sorely tempted by the neck-kissing allure and glamorous currency of Los Angeles. Given Laura Saggers’ talent, drive and artistry; it is no surprise she has decided to travel to America in order to further her music career. Before I raise my new points, it is worth learning more about my featured artist:

“Classically trained pianist from the age of 4. After 14 years studying with the Associated Board of the Royal Schools of Music in England, Laura started her own teaching business at the age of 19, started and fronted her own heavy rock band, Sennah, finished a BAhons degree in Music Business, moved to Los Angeles, and is now a singer songwriter with two singles on itunes and the album in the studio. stay tuned”.

That biography was written a little while ago: since then, Saggers has more achievements under her belt and new music on the horizon. With an album mooted for next year – which I shall come to soon – it is worth looking at how influential and inspiring she is. After training as a classical pianist, and being bitten by the performance bug at university, she is a Roland-endorsed keyboardist and has an incredible pedigree. There are few musicians that have such an affinity for the piano and an unbreakable passion.

Not just a skilled and versatile composer; she is an incredible songwriter and singer whose multiple gifts are aimed more at universal betterment than they are self-fulfillment. I hope the American lure does not distill Saggers’ natural speaking voice for she is someone who has incredible diction and a warm and loveable personality. Why mention this?! Well, it is because Saggers has that potential to become more involved with music as an ambassador or voice of good. She has worked her way up from working with other artists in smaller capacities (around L.A.) and now being tipped as one of the brightest hopes for next year. I feel Saggers will become more dedicated to music and use her talent and story to compel others and promote music to the next generation – I just prefer her natural accent to the Californian twangs and looseness. In my previous review, when looking at Stoke-on-Trent’s Chaos Jigsaw, I went into detail about how 2016’s finest albums have seen more black artists being recognised. I have been relieved to see the likes of Frank Ocean, Beyoncé and Solange being given the dues and acclaim they richly deserve. With chatter around regarding equality in music – I will plunge further into these waters tomorrow – you have to apply this discussion to gender as well as race. I still think there are fewer chances for women in music – perhaps a hot potato best left to cool for a few more weeks. I feel the female performers in music, both mainstream and underground, are outstripping their male counterparts and producing more diverse and interesting music. Laura Saggers is one of those artists who deserves huge applause but might have to fight harder than if she were a man. Even somewhere like California is not going to be as fair an open-minded as one would hope. If the derivative, reductive Pop stars of the charts are given easy passage to the big labels’ doors: genuine, real musicians like Saggers often have to expend three-times the energy and movement to garner a fraction of the popularity.

I have been following Saggers’ work for some time and am always impressed by her sheer determination and skill. I watched her perform a piano piece – whose name alludes me when I need it most – and was stunned by her acumen and ease. As a Pop/Soul songwriter, she puts her own stamp and voice into genres that have become crowded and commercialised. Of course, Pop has always come with a commercial, made-for-the-charts desire but Saggers is someone who can balance a radio-friendly sound with something much more intriguing and intelligent. I shall come to assessing her new music soon but it seems like the path is all laid out for the young Brit. I see too many ‘musicians’ have others write their songs and not bother to learn an instrument; have their voices processed to f*** and hide behind a barrage of producers and hapless yes-men. Saggers is, by that same token, not someone who is dull and forgettable. This year, my favourite music has been defined by real musicianship, nuance and flexibility. The artists who occupy the high spots of my end-of-the-year polls are those that bring all these elements to their music – that is why the likes of Billie Marten, Radiohead are, by an act of transposition, authours of my favourite album and song this year.

I know Laura Saggers will be granted mainstream regard and get her music shared across the globe: it might take a few years before she gets that assured foothold and full backing behind her. That might seem like a galling and far-off timescale but she has already achieved so much in a short space. It will be fascinating seeing how 2017 plays out compared with this year. I know 2016 has been marred and defined by its losses and tragic mortality but let us not forget what starling and decade-defining albums we have seen. I have not witnessed a year as exceptional, multifarious and evolved as this year. Not only have black artists defined the finest of this year but female artists are, in my expert/non-expert view, leading the charge and showing how it should be done. I know next year will keep the quality up but see changes still. I expect many of the hardest-working new musicians get a step closer to mainstream recognition. Whatever Saggers has in mind, aside from an album release, I am excited to see her dedication and natural talent reap rewards. When the Sun Met the Moon is not just a positive step but another bold and memorable step from the California resident.

With Chasing Dreams approaching, it is worth looking at Saggers’ previous material and seeing how it square-up against When the Sun Met the Moon. I am not sure how many older tracks will make their way onto her album but you can see the changes and confidence grow. Summer Fling, released a couple of years back, not only reminds me a bit of another upcoming British talent – the colourful and commanding Lola Coca – but has that sound of summer ingrained in its psyche. It has been compared to the music of Lily Allen but I feel it is more unique and pleasurable than anything she has lent her name to. Saggers recalls a holiday/brief fling: a boy that was good for the body and lips but was never going to linger in the mind – not beyond fond and blushing recollection at the very least. It is a song that deals with prurient, sweat-dripping impulsiveness but never cheapens itself by aiming for the bone and being crude. You can practically hear the sly grin form on her lips as she recalls the good times and in-it-for-the-moment recklessness. There is Hawaiian tropical vibes and summer blissfulness; feel-good sensations and a beat you can get your feet underneath. In terms of new material, aside from the album title track, there have been a lot of cover versions.

Included in the list of covers are songs by Ella Fitzgerald, Cat Stevens and The Killers – not artists you could compare or find common ground with. That blend of classical and contemporary artists shows what a diverse musical palette Saggers has. It is this asset that has led to some extraordinary new material. There have been other songs like 10000 Bitcoins and Warrior – you can watch the videos on her YouTube channel – but it is the reinterpretations that show what a talent she is. Tackling other artists’ songs not only increases that confidence and adds experience but adds new dimensions and colours to your own music. I am sure investigating songs by Ella Fitzgerald and The Killers is directly responsible for the blend of soulfulness and urgency in songs like When the Sun Met the Moon. I know Chasing Dreams will not contain many (if any) cover versions but Saggers could pull that off. Such is her authority and naturalness when tackling older work you yearn to hear more. I am really pleased by her current material and have seen how she’s developed as songwriter. I love the seasonality and sensuality of Summer Fling but find myself affected and buckled by the incredible emotions of When the Sun Met the Moon.

The listener is practically inoculated to outside distraction and anxieties the first few seconds of When the Sun Met the Moon. The sparring of teasing, tight beats and elliptical, flourishing piano notes give the song competing emotions. You have that heartfeltness and open arms but there is a lingering hardness and unsettled soul. It is in the first moments one starts to imagine and let their dreaming mind take charge. With an almost lullaby-like quality to the delivery; Saggers recalls when the sun first met the moon – the celestial, astronomical beings exchanging courtesies in a rather charming, child-like way. That civility and conversationalist give the song a very human and pleasant tone – one suspects there is something else hiding in those words. The words are spoon-fed but it provides the maximum amount of respect and detail. I notice embers of Katie Melua – and her latest album, In Winter – in the delivery and its pleasing, gorgeous sound. When hearing the song one gets impressions of darkness and light. The moon represents the feeling of loss and the vacuum of having to say goodbye to someone you love – whether they are a lover or a relative that has departed. The sun is the more hopeful and life-giving object: something that can provide hope and light to those who need it the most. Maybe I am looking too deeply into Saggers’ words but that is what I pick up straight away. There is a “Vision of beauty” and you are split between two logical plains of theory. Maybe there is the sun – and its embrocating powers – and how its radiance and ubiquity is a relief and balm for troubled minds. The moon is the night and the unpredictablness of losing someone close and having to face that. Those dual titans act as emotional pillars and representations of extreme feelings.

The sun took her, the song’s unnamed protagonist, and showed her a world of green and blue. Saggers keeps things oblique and allow the visual merits of the song replace literalness. Everyone can freely interpret and envision the song as it unfolds. I see the song’s heroine the embodiment of Laura Saggers: someone who has dealt with tragedy and is trying to find meaning, calm and comfort in the world. Maybe she has lost her safety net and role model: having to transition into a life without that is causing confusion and sadness. On the other hand, there is the simplicity of the literal: seeing the day transcend into night and the spellbinding beauty of day’s light and night’s celestial, balletic displays. It is when the song accelerates and changes pace things become clearer – only to a certain extent. Separation and belonging are mentioned in rather grand terms. The sun and moon are never meant to be apart, regardless of their unique roles and day/night shift dynamics – but so too is Saggers and her subject. Whether she is referring to a love/sweetheart or someone that has departed, I am not too sure- the rather spirited and hopeful tones of the vocal suggest it is the former. The percussion drives and the piano provide tenderness as our heroine pledges her allegiance to her subject. Whatever happens, and how every the days reveal their skin, there will be no question of her loyalty and faithfulness. There is a capriciousness to life and its temperamental demeanour: our girl will always keep her heart strong and not let her love fade. At once, you are hooked by the graceful-cum-delicate delivery of the lines and the sheer twinkle of the composition. Ethereal, sweet and shades of pink and red: Saggers shows what a virtuous and comforting voice she has.

Whilst intentions of passion might be contained within the words, you never feel there is any possibility of allure and sex – it is much more clean-cut and romantic. Again, in terms of the song’s inspiration, I am caught between the pillars of lost love and current desires. There is gravity, force and astrological ruminations. That innocence and tenderness continues and will warm the most arctic of hearts. The heroine will always be there and someone whose dedication will never wane. It is interesting speculating the origins of the song and the person in mind. Saggers is certainly clear about her feelings and intentions towards the subject – no matter what happens and whatever fates conspire; she will be loyal and completely faithful. The darkness came and “kidnapped the moon into the night” and has eradicated the pleasures and security of the day. Maybe that loss has occurred and changes the tone and balance of the song. Now, you hear an audible drop and weight in Saggers’ voice. Again, it seems to be that loss and bereavement are more concerned with death that broken love. Knowing how Saggers’ mother died; one cannot help but draw their minds, knowing that fact, to these interpretations. Despite the sun’s valiant attempts to reclaim the day; it seems the power and influence of the darkness are winning that tête-à-tête. Setting aside etymology in relation to this song: it is impossible not to be won and affected by Saggers’ voice and composition. I know how much the song means – as it is very personal – and what relevance it holds. I am not sure whether Saggers was thinking of familial loss during the writing but you can hear how much of her heart and soul is coming out of the speakers. You get notes of Pop and Soul intermingling but there is  overall hopefulness and positivity. When the song switches up another gear, and the percussion and guitars becoming more rushing, you are never overwhelmed or led into negative territory.

Saggers ensures the song keeps it spirit resolute and old. Whether her inspiration has departed or is elsewhere: their light and magic is the thing that starts (Saggers’) day. Dealing with such hard-hitting concerns might torment and wrack lesser songwriters. Laura Saggers has delivered a song that does not fail to evoke a smile and instant fandom. You do look for the meanings and what has led to the song’s creation but, on the surface, are more than happy engaging in the wonderful, bright vocals and pleasing composition. There is a completeness and nuance to the song that affects you depending on the mood, time of day and occasion. Different periods might bring different things from the song: you might hear new revelations and highlights when you least expect it. That is testament to Saggers, not only as a songwriter but a singer and musician. She does not make the music too loud and intrusive nor does she cast it to the outskirts – where it languishes and acts as a means to an end. She involves and entwines the composition with the vocal – much in the same way the sun and moon are inseparable in the song. By the end, as the music wraps up the song with its buoyancy and infectiousness, you will get to the end of the song and want to listen to it again. Quite an achievement from a songwriter who is relatively new to the business. She already seems experienced and established which will do her future prospects the world of good. Not only is When the Sun Met the Moon a perfect example of what Chasing Dreams might contain – it is a stunning song that has the potential to find itself on radio stations around the nation (U.S.). I hope British-based stations latch onto the song and feature it as there is a big swell of support for Laura Saggers. We love her music and talent: she, in turn, shows her affection for the listener with another beautiful and rich song.

It is Christmas – I am writing this on Christmas Day, in fact – and the kind of time when we not only look back and give thanks but cast our hopes for the future. When the Sun Met the Moon is a song I will not get out of my head for a while and no wonder. I have provided my interpretation and views. Saggers, in her own words, ascribed it thus: “(It is) a story about how the sun falls in love with the moon and they get separated, and for the rest of his life the sun continues to love the moon even though he can no longer see her. I work with a ton of kids on a daily basis and was inspired to write this song as a message to anyone who has had to lose someone special. The ‘darkness’ can be either death, or divorce, separation, or a situation that is out of our control but hard to explain to children without a story behind it... The message is simple: people come and go, that is life, but the love between two people, regardless of circumstances will never be forgotten. My mum passed away when I was 13, and to this day I believe her love for me still exists because she lives in my memories and that gives me peace and strength every day.” I know Saggers’ mother would be incredibly proud of her daughter and what she has achieved. She (Laura) is not just a musician and artist making moves: she is inspiring and teaching others whilst showing how beautiful and wonderful music can be. I wrote a line in a song once: “The sun and moon switched place/the night I saw your face” and, whilst not as fine as one or two other lines in the song – which I shall not bore you with – sparked images and thoughts.

Saggers reminds me of that moment and has written a song that addresses darkness and loss but has a hopeful, they-are-always-there-watching-over-you redemptiveness. Yes, Mrs. Saggers will be eliciting a smile and guiding her daughter – the fact that love and connection resonates within the heart of Laura means that connection will never be broken or lost. Before I come to predicting and looking at the next year for Saggers, I wanted to revoke the themes I alluded to up-top. Whilst I will expend proper respect to gender and racial issues in music, I am pleased to see just how many fantastic female musicians are getting into critics’ heads. That may sound patronising but it isn’t meant to: it does not take a genius to know there is a certain degree of sexism and imbalance in music. I have grown tired of seeing certain male, inferior artists crowned and revered at the expense of their better equipped and meaningful female peers. Maybe my half-joked introduction is part of the reason female musicians are lauded for the wrong reasons. Saggers is an extraordinarily charming and beautiful woman but one needs to dig down and not assume she is your average Pop star who leers for that sort of attention. Laura Saggers is a bona fide star-in-the-making and one of the most stunning songwriters I have heard. Her voice is still developing and growing but that, and the fact she is so immediate right now means her future will be very rosy. Yeah, there are some great male artists and they should never be relegated and demoted for no reason. I just mean to say how the finest female artists around are not given the same regard and respect. Music should be gender-blind and built on the foundations of equality and merit. There is, as I stated earlier, greater equality in music when compared to other areas of society. It is wonderful seeing a British musician not only settle in Los Angeles but acclimatise and attune themselves to an American way of working.

One of my goals for next year is to visit cities like Los Angeles and see more American music. London is a wonderful place, and favourite city in the world, but I can see myself settling into Los Angeles. Its weather, panoramic views and exceptional musical enclaves are more than enough to see my hop a plane and get my tuchus over there. Laura Saggers left the calm and received pronunciation of the Home Counties to try her luck in America. She did not just rock up and get signed and huge the second she played her first gig. Many British musicians are going to America and finding it a more appealing and prosperous landscape in which to creative. Despite the fact the bloated Trump is threatening to wring the last drops of dignity from the American flag is not unsettling musicians: in fact, there is a peaceful rebellion and movement of creativity happening. It is not a coincidence the finest albums of the last decade are arriving in a year when political tyranny and increased hostilities are reaching untenable levels. This brings me to Laura Saggers and just what she will be doing next year. When the Sun Met the Moon is a song that has already been released and gaining so much attention and positivity. I was compelled to review it because of its lyrical themes and backstory; the rich and gorgeous music and that incredible vocal. Having heard other songs by Saggers lately, including seasonal covers and a particularly stirring version of Zombie by The Cranberries, I am looking forward to seeing  Chasing Dreams (her debut album) come to the light. Its title track has been released and shows how prolific and determined Saggers is. I use that word (‘determined’) because it is a facet missing from many musicians. Thre young musician will be releasing singles slowly – in order to wet appetites – but I am seeing, from what has been released, how varied the album will sound.

There is that Pop/Soul core, where genres are cross-pollinated, and that dichotomy of radio-ready accessibility and something much more discriminating, proper and educated. Saggers’ classical training and wonderful musicianship are balanced by an open songbook and gorgeous voice that will compel casual listeners and those who can hear a pin drop in an ocean of noise. When the Sun Met the Moon is such a wonderful song and I can see it arriving at the half-way point of Chasing Dreams. Maybe the title track opens things before moving into similar-sounding songs: perhaps a lighter, breezier first-half show before a more contemplative, emotional finale? This is my acting as proxy producer – got to distance myself! – but I am pumped to see Saggers grow and shine. She is no short supply of confidence and talent: commodities that are desperately sought in the music industry. Whenever the album is released, and whatever the remaining tracks consist, I will be one of the first to jump on it and dive into its pleasing waters. I will close my looking at Saggers’ career so far and just how far she will go in the coming twelve months. When I interviewed her months ago, I asked about her transition to America and her hopes for the future. I know she misses the accents, humour and tea; the comforts of home and what she has left behind. I also know how much she wants to press on in music and has high hopes. After releasing the bouncy, upbeat Chasing Dreams – which Elmore Magazine premièred – Saggers has been involved with the Laura Jean Music Academy Group 2 Formal Winter Music Recital 2016 – see her Facebook updates to see how positive and successful the last couple of weeks have been for her. Not only has Saggers been laying down the promotion for her forthcoming album but she has been cutting her teeth on a range of cover versions. Adding life and new dimensions to songs like Feeling Good is hard but she has recently achieved that. It is precisely that work ethic and continued dedicated to others’ material that makes her own (material) so vibrant, assured and professional.

With Laura Saggers there are few nerves and loose ends: she radiates professionalism, beauty and immense passion. That incredible songwriter and heartbreaking history – knowing what inspired When the Sun Met the Moon – not only make you want to hug her (and tell her it will all be okay) but continue following her plight. I know Saggers has a loyal fanbase in the U.S. and U.K. and that will only grow next year. I would love to see her perform back in Britain and in London for sure – lots of venues I know would give her a night or two to give us over here a taste of her new work. I hope she has a great label and manager behind her because she deserves her music getting a lot of focus across the world. I could see, and practically plan, a mini-tour of Britain and the U.S. She could find fans across Europe and Australia whilst getting some good vibes around Asia. The release of Chasing Dreams will be pivotal: its title is perhaps the best two-worded synopsis of Laura Saggers’ career. She did leave home to pursue music and has left a lot behind her. There are few brave enough to risk that much but it is, surely and without abatement, paying off for the stunning musician. I know how tough the competition is and just how many artists are out there. It might be naïve proffering everyone who comes to my blog but that is why I review them – I am not merely employing reductio ad absurdum. Whatever Saggers’ tour diary looks like and however 2017 is panning out it is going to be a massively important one for her. Not only is her album going to get a load of buzz and love but she will have options and decisions to make. I am, as part of my blog, compiling a list of those musicians to watch next year and follow close. Laura Saggers will be on there and it only takes a single listen to When the Sun Met the Moon to see why. A certain President-elect Trump is brewing his own international nightmare but when it comes to our very own Laura Saggers, she is taking the opposite approach and writing…

HER American Dream.

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Follow Laura Saggers

Official:

http://laurasaggers.com/index.html

Facebook:

https://www.facebook.com/laurasaggersmusic

Twitter:

https://twitter.com/laurasaggers

Instagram:

https://www.instagram.com/laurasaggersmusic/

SoundCloud:

https://soundcloud.com/laura-saggers

YouTube:

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

FEATURE: 2016: The Legends and the Legacy

FEATURE:

 

2016:

 

The Legends and the Legacy

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I don’t want to jinx this or be premature…

but I feel we are done with musical deaths in 2016. Following George Michael’s passing yesterday; I was compelled to think about the sheer weight of tragedy this year – not in a negative way but celebrate the musicians that have left us so much. Everyone has said how bad and Grim Reaper-friendly 2016 has been – let’s hope next year sees fewer untimely deaths. Unfortunately, there is no culprit or conspiracy: it has just been a particularly rotten year with regards mortality and losing music’s best. Rather than mourn too heavily and derail: let us look back at some wonderful artists and the stunning sounds they leave the world – that will never, ever die.

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David Bowie – 8^th  January, 1947 – 10^th  January, 2016

https://www.youtube.com/playlist?list=PLHuzJLVjHOwmDAAQnAJsBtUrxw5ZxQVWV

Glenn Frey – 6^th November, 1948 – 18^th January, 2016

https://www.youtube.com/playlist?list=PLHuzJLVjHOwl_8yBPlLYFiImrQJCmBxGY

 

Prince - 7^th June, 1958 – 21^st April, 2016

https://www.youtube.com/playlist?list=PLHuzJLVjHOwlxBtduGBmTai-Bup4DWov_

Leonard Cohen - 21^st September, 1934 – 7^th November, 2016

https://www.youtube.com/playlist?list=PLHuzJLVjHOwmqx2nhcIGAF16XyX6Ixbtj

Rick Parfitt – 12^th  October, 1948 – 24^th  December, 2016

https://www.youtube.com/playlist?list=PLHuzJLVjHOwnrIwXReLo9tUUkFUB2WfLJ

George Michael – 25^th  June, 1963 – 25^th  December, 2016

https://www.youtube.com/playlist?list=PLHuzJLVjHOwkI-_yaRUst64-SvFcClpii

TRACK REVIEW: Chaos Jigsaw - You Make It…

TRACK REVIEW:

 

Chaos Jigsaw

 

 

You Make It…

9.6/10

You Make It… is available at:

https://www.youtube.com/watch?v=2reUOpulRK8

GENRES: Rap; Hip-Hop

ORIGIN:

Stoke-on-Trent, U.K.

RELEASED:

2^nd December, 2016

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THERE have been some terrific British sounds bouncing all over...

the place this year. Whilst, in terms of critics’ choices of the year, the U.S. is gathering most of the attention: our home-grown acts are not to be overlooked and have made some terrific music in their own right. Most of my ‘job’ involves scouring the vastness of music’s landscape for the best and most nimble talent out there. A lot of great bands have come to mind; some terrific Folk-based artists and musicians you really can’t compare with anyone else. One of the things I have been looking for is a fantastic young Hip-Hop talent. I mention this based on the rise of great Grime and Rap acts putting this country firmly on the map. If the U.S. has been scoring a lot of the focus regarding this year’s best albums: Britain’s hungry street poets are among the most relevant and important voices in our midst. If you had to look at certain nations and sounds associated with them: many would not put the words ‘Hip-Hop’ and ‘Rap’ with ‘the U.K.’. That natural partnership has always been an American possession. We shine when it comes to Rock bands and some kick-ass Electro.-Pop acts; some of the best and brightest young songwriters you’ll hear. The Americans tend to corner the market with reference awesome Hip-Hop acts. This genre, when linked with Rap, has so many offcuts and sub-genres. There is the more granite-levelled spit of Grime – where the portrayers talk about the realities of the street and what it is like growing up in a twenty-first-century Britain. There is Trip-Hop – which was more prevalent and popular in the 1990s – and derived styles – including Breakbeat, Ghettotech and Rap-Rock. That final one links me to former Bi:Lingual frontman, Dylan Cartlidge. His solo venture, Chaos Jigsaw, teases together Rap and Hip-Hop but not as you’d expect. Not your average, contemporary version: what we are treated to is something much more rounded, unique and heartfelt. I know a lot of modern Hip-Hop splits its inspiration between personal issues and more wide-ranging societal concerns. I know Chaos Jigsaw’s creator has had a rough and eventful last few years – having to struggle against depression and doubts – and brings this into his music. That is not to say the songs are awash with depressive and anxious songs.

What Chaos Jigsaw produces are songs that look at personal concerns and love but a lot more interesting and original than all that. You get some strange and fascinating characters; some wonderful storylines and quotes – a writer who does not follow a ‘norm.’ and tries to fit in with the mass of other artists out there. Being Hip-Hop/Rap-flavoured; you do have that swagger and intensity but plenty of discipline, melody and groove can be detected. Before I move onto other points, I wanted to look at artists starting out and things to consider. Cartlidge’s endeavour is not his first foray into music but it is a brand-new outfit. Departing and moving on from the band days – which I will address later – it is a bespoke, fascinating mixture of British and American Hip-Hop styles with that undercurrent of Funk, Rap and Rock. I know Chaos Jigsaw will want to expand, develop and grow as time elapses: get the music across the country and not just become confined to British audiences. You Make It…is not the first Chaos Jigsaw song but it is the first video. That is a scary and exciting prospect and one that has been greeted with a professional and memorable film. When arriving into music, as I have said in countless blogs, you have to consider all things and not assume others will do the work for you – or you can be a bit slack with some areas and not others. In terms of that first video, you have to create something true to the song but is not generic and uninspired. Bringing people into platforms like YouTube not only means the music is exposed to a lot more people but gives the music that crucial visual aspect and reality. You Make It…has a fine video and I will make sure to address that at an appropriate point. What I wanted to look at is the other visual aspects of new music. One of the biggest criticisms of artists in 2016 has been their lack of social media information, photos and official websites. Although Chaos Jigsaw is a newborn; there are thousands out there who will want to hear that music and discover everything on offer.

Because of this, you have to make sure – as Chaos Jigsaw does – you have the spread and nourishment the consumer needs and demands. The music is hefty, authoritative and pure: the other, lesser elements have to be addressed. There is not a demarcation between the music and the peripheral aspects – or the neutron floating outside the proton and electron. Making sure your website and social media pages are proper and easy-to-navigate is crucial. This is the last time I shall whip this particular mule in 2016: it is something that every single artist needs to get right and keep pushing. If the Facebook/Twitter sites are kept updated, on-point and interesting then you are going to stand a much better chance of keeping fans and recruiting new ones. I have stopped following so many artists because they either fail to provide updates, and thus slip into obscurity, or they post too much asinine, trivial things – one of the most irksome and fury-inspiring things about social media. You have to have some biography and details: who your influences are and a brief timeline; where you came from and a bit about your sound. On top of that (there is quite a bit to get sorted) you need a selection of good photos. I see a lot of acts with a few, badly-shot live snaps and a few Smartphone-produced candids. It can be quite depressing having to struggle to put faces to names and letting the music itself fill all the gaps out. Chaos Jigsaw is one of the most promising and original artists I have heard, and knowing Cartlidge and how prolific he is, I will be looking closely to see whether these recommendations are fulfilled. The fact there are a few photos repeated around this review is no big deal but I know there are opportunities for Chaos Jigsaw to get some professional shots made, or, at the very least, some high-quality shots around Stoke-on-Trent/Birmingham – some location pictures or whatever suits the mood. Give the Facebook site some more information (personal insight and goals) and get an official website sorted out. The photo point is the first one to look at - then, make sure there is information and all the pertinent links included.

Making sure you can quickly access the music-sharing platforms is paramount – without a new fan having to put it all into a search engine and having to do all the hard work. Lastly, and perhaps just as important, is making sure all the existing music is promoted and pushed; any forthcoming tracks and teased and mentioned. I bring this point up, not just to have another rant, but prepare the best and brightest for next year. We are just about to leap into 2017 – make it a rosier and less tragic one than what has just passed – and the horses will be bustling out the gates come 1^st January. I think Chaos Jigsaw will get that nailed and go on to enjoy a lot of success in the industry. Not just because there is a definite niche for Hip-Hop and Rap but because of the type he provides. Traditionally, the genres are defined by a lot of aggression, sound and confidence. You do get more reflective, nuanced cuts but there is a certain image we all have when you mention this kind of music. Chaos Jigsaw has a lo-fi agenda which places bass funkiness and twang over hardcore beats and polished production. Things are stripped down and honest; imbued with a production sound that is D.I.Y. and uncomplicated. You get plenty of excitement and confidence but things, for the most part, are more restrained and controlled. It is not often you hear an artist that steps into a genre like Hip-Hop and give it such an inimitable spin. I have heard a few songs from Chaos Jigsaw and they are consistent in the fact the lyrics are intriguing and original – not addressing the themes you might imagine – and has that distinct production. The way the bass comes out front; the song has that homemade feel – it is exciting thinking just where that music can go and how it will change. Whether it does change is up to Cartlidge and how he envisions things going. I am really fascinated by Chaos Jigsaw and how the music makes you feel. When listening to it, you never hear any elements of anyone else. It is a rarity discovering an artist impossible to connect with any other. It is down to that special approach and dynamic: sounds that are going to inspire others and change (many musicians’) way of working.

Before looking at Chaos Jigsaw’s past and present music; I have been thinking about former band leaders who have to embark on a new career on their own. I shall not bring up Bi:Lingual too much (although the split was, for the most part, quite amicable) only to use it as the springboard for my point. I have seen many bands break up over the year and that dilemma befalls its members: where do you go when your way of life ends? You can get comfortable in a group and feel it will last for many years to come. When things, for whatever reason, change you have to look around and come up with a Plan B. In that way, it is a musical divorce: separating from that former rock and having to rebuild your life. Cartlidge was frontman for the Rap-Rock/Hip-Hop band. Their music was defined by stunningly inventive, fast-flowing raps and modern poetry: songs that addressed important themes but did so in an intelligent, thought-provoking way. Whether the pitfalls and obsession of social media or humans that deserve a dressing-down: the band was masterful at highlighting these common grievances and bringing life and character to them. It was Cartlidge’s voice and delivery that made the songs what they were. His accent and passion; that ability to switch from angered to sly and witty – there are few leaders that have quite that range and ability. Like (fellow review subjects) The Bedroom Hour and Crystal Seagulls; the frontmen of each of those acts has managed to find new lease and life after the collapses. Rather than replicate Bi:Lingual, Cartlidge has taken the band’s best assets and put them into his solo venture. Being a one-man arsenal, it is impossible to project that same epic sound and primacy that his former colleagues created. Instead, you have a musician who retains that exceptional songwriting talent and sounds completely in control. There are no nerves and hesitations; he is not struggling to find balance and security. It is just a point I thought I’d raise. Many assume transitioning from a band to solo work (or another band) would be fraught and difficult. I am very pleased Chaos Jigsaw has been formed and already picking up new fans and eager listeners.

There is a bit of Outkast in Strawberry Blonde’s Snip and its cool, casual delivery. The hero needs some time alone to figure out the riddles in his head. Our man feels old and is trying to come to terms with things and make sense of it all. Maybe the result of a relationship division or something inside of him: it is a curious tale that gets you guessing and a tune that will definitely lodge in the head. The percussion is quite heavy and consistent throughout. Never too dominant or clean: it is a punchy and hollow sound that gives the song plenty of smack, rouse and guts. The bass is assuredly catchy and proud. It has that elastic funkiness and is perfect backing for a vocal that ranges from achingly cool to cautious and vengeful. It is a performance that makes the song such a complete thing. The composition has its own life (as do lyrics and vocals) and a song you keep coming back to just to experience that incredible performance. The World Outside looks at the… well, world outside. It is a faster, more ‘traditional;’ Rap performance. Where Strawberry Blonde’s Snip was laid-back and two-toned: here, there is more emphasis on that urgent delivery and quick-stepped rapping. The vocal is constantly flowing, encapsulating and emotional. Occasionally, and like Bi:Lingual, there is that quiet-loud dynamic which yields some overt anger and fire. For the most part, the track looks at personal and universal issues; the bad kids becoming side-kicks and things not working the way they should. Instead, the topsy-turvy skin of The World Outside is a truth and hopefulness that come out. Even if there is a lack of justice and fairness at times; there is much to live for and reason to keep going. The hero lets his voice rise and crack at times; it has so many different sides and expressions. The bass is less prominent on this track. Greater emphasis is placed on the percussion which is a solid, defiant heartbeat that gives the song its guidance, rhythm and melody.

Love Spoons gained Chaos Jigsaw his first review a few months ago and is, at that point, the most confident and stunning track in his locker. Little vocal eccentricities remind me of Screamin’ Jay Hawkins; there is a whiff of Big Boi and little suggestions of Prince at times. For the most part, it is the Stoke-on-Trent native putting it out there and owning it. That message of strength and fortitude can be found once more. If love seems wrong or people are telling you to do something you don’t want to do – you can fight against it and need to follow your own mind. It is a song raging with Funk and cool-assed stride. You bounce along with the track and its blend of relaxed temperament and river-flow lines. It might take a few listens for all of the song’s layers and pleasures to come together: when things do fully form the result is pretty special. One of the reasons I love Chaos Jigsaw’s work is because of the difference between each number. There is no repetition and sticking with boring themes. Every song sounds completely new and the work of someone who does not want to repeat tricks and stand still. Each song, and the positive reception it accrues, gives Chaos Jigsaw the confidence to up his game and produce even better material. His first songs were wonderful and stunning but songs like Love Spoons and You Make It… are his finest yet. The latter has its own video and shows just how much faith its authour has in the music. With at least four solid and incredible songs under his belt there is enough material to go into an E.P. Maybe Chaos Jigsaw will look at an album and getting some other musicians into the fold – to provide his upcoming tracks other sounds and instruments. I am not sure what he has planned with regards new music but I know there are so many possibilities. I would love to see an album and a ten/eleven-track record that boasts the sort of gems we know Chaos Jigsaw is capable of. He may be starting out but his material already sounded properly formed and without equals.

Keen to create something new and progressive – but keep the best bits of his previous material - You Make It… has pattered, enticing beats and some groovy bass. These are elements we know and love about Chaos Jigsaw. Here, they are mingling and sparring with one another in a brilliant introduction. When the hero comes to the microphone, the syncopated, propulsive lines get the mind working right away. If the girl didn’t change the list of games – getting tied to her “Zimmer frame” – our boy would be amazed; the wire from the sirens is in the mains and all manner of things is going on. The words compel some imaginative diversions and speculation. The “internal rubbish” being lobbed at the hero is not only predicted but digested. He never seems to see it common but still allows it to get inside his head. Maybe the girl is old before her time or spinning those same lies; she might be trying to pull a fast one or deceiving the hero. Her apologies and excuses are finding a willing scapegoat: that long-term beat-down has to stop right now. Not wanting to take this anymore, you can hear an audible annoyance. The lead is weary of all the same old days and feeling a particular way. We all know that kind of situation/person: where a heroine takes advantage and uses the guy; the lessons are not learnt and the same mistakes seem to be made. The chorus is a chance to step away from that fevered and excitable verse delivery. It is here where our hero is more relaxed but seems to be wrestling with his own mind. The song’s title is sung but with no real answer. There is that lingering ellipsis and question mark remaining. Maybe the weight of emotion is too heavy – or there is too much suppressed answer to provide a conjunct, restrained answer.

Aiming “silver bullets” and inside the “pet cemetery” of the bond seems to be some fonder memories and times. Maybe things were not always so sour and unsettled. You Make It… keeps you invested with its unpredictability and changeable nature. Towards the middle stage, the vocal gets even more accelerated and tumbling. Like emotions bubbling and the heat rising: the song gets more intense and determined as time elapses. Some of the words you catch whereas others free-fall and rush right by. It is an exciting section that departs from the more lackadaisical, louche sound of the chorus. Still keeping nimble and lively; the vocal then changes directions again. After the chorus is a shouted and different-vibed delivery that is the tensest and most unsettled moment in the song. Your head, at this late point, has been stretched in all sorts of directions and is taking all the words in. In my mind, I was seeing a hero that had had enough of the constant disappointment and sacrificial lamb behaviour. He is getting caught up in something rather unwarranted. There is always an air of mystery around the song. I say this about a lot of songs but lyrics that are not too obvious (and make you think) are much more appealing. You think it concerns love and a spiteful heroine but maybe there is other things are play. Perhaps the song looks at problems beyond relationships and the world at large. Given the themes explored on The World Outside; it would not be a huge stretch to suggest You Make It… casts its imagination further than you might think. Whatever the true nature of the song it is a marvellous offering from an artist unlike anyone else. I have mentioned other artists but they play such a small role in the overall sound. It is all down to Cartlidge and his personal vision that goes into the music. You Make It… got me thinking and guessing; it made me come back and want to listen countless times. The lyrics have that intelligence and poetry that means they warrant digging and care; the performance is assured and commanding whilst the composition has so many different strands.

I have been looking at the so-called ‘best’ albums of this year and what they represent. Depending on whose polls you look at you’ll notice a few names cropping up time again. Aside from the likes of ‘6 Music; there has been a general consensus that is recognising music that strays away from the usual mainstream fare. It was the case, a few years ago, that Rock bands and radio-friendly albums were topping those end-of-year lists and exciting critics. You know the kind of album I am talking about. This year, and given the way politics and the world stage has changed, there seems to be a need and demand for music of a different nature. Beyoncé’s Lemonade seems to be the out-and-out champion: that record that resonates and gets into the heart; propels the soul and body whilst spiking the brain and imagination. The most confident, direct and personal album of Beyoncé’s career: maybe not a surprise it was deemed the finest album of this year. In fact, black artists are being exposed and included in a way they have not in previous years. This is something I will mention in a separate post but it is pleasing to see some (attempt) at equality. Aside from Beyoncé, artists like Chance the Rapper, Kanye West and Michael Kiwanuka have been lauded and tipped; Solange, A Tribe Called Quest and Frank Ocean have made it into the top-ten lists. Not only is there a racial and national split (American artists stealing focus) but stylistic and genre, too. Gone are the predictable lists of Rock and Alterative darlings; the banal and heavily-processed Pop acts – replaced with something a lot more credible, relevant and high quality. It is the ‘relevant’ part of that sentence that stands out. 2016 is taking no prisoners in the wider world – with regards notable deaths and unquenchable violence – and that extends to music. Consumers are growing tired of the same old generic crap and forgettable fare.

Albums that burn, explode and linger are being favored; ones that look at the world around and deal with serious issues are en vogue. Even Lemonade, that looks at infidelity and love, does so in a new and very personal way. This should give artists like Chaos Jigsaw direction and confidence. The British Hip-Hop upstart is making music that would not sound out of place was it dropped among the big names of 2016’s music. Perhaps it doesn’t boast the same fresh and polished production values but that is part of its appeal and originality. It is the subjects, sounds and genres of You Make It…that will see Chaos Jigsaw do some big business in 2017. Before I come to Chaos Jigsaw and look at his future, I wanted to wrap up the points I made earlier. Artists coming into music not only have to make sure their aural packages are full and prepared: they need to consider their social media platforms and the visual side of things. It may seem like a lesser importance but that would be foolhardy in a modern, digital age. Your social media pages are you selling yourself. Musicians that overlook this issue and provide scant details are going to struggle to find big fan numbers and really impress. It is not a coincident that the new artists building the biggest fanbase keep their pages updated, full and visually arresting. Chaos Jigsaw is just starting out but is keeping fans updated and looped into his happenings. I would like to see a lot more photos going up and all those (all-important) social media links in one place; a full biography and more revelation from the songwriter. Not merely for disclosure and confession: it gives reviewers, fans and the curious what they need to form a fuller picture and get inside an artist’s mind. I know Chaos Jigsaw will continue to build pages because he is an exceptional and promising artist.

It is that promise that comes at a time where music is redressing the balance of sorrow felt in the world. Artists are filling gaps and providing us some form of escape, fulfilment and distraction. British music is at its peak right now. It is not just the mainstream that is improving, changing (for the better) and diversifying. Our underground acts are matching their critically-approved colleagues and showing huge energy, invention and quality. Certain genres are coming to the forefront like never before. I am not sure whether it is because of society demands – acts that talk about real life and have a grittier sound – or something else: we are hearing Hip-Hop, Rap and Grime coming much more into the fore. Aside from the Mercury win of Skepta; there has been a band of agile and striking acts looking to make big footprints next year. It is encouraging to see and a perfect time for the likes of Chaos Jigsaw to rock up. Whilst his brand of Hip-Hop and Rap is not as swaggering and pummeling as many of his counterparts; it is a lot deeper, more interesting and accessible I feel. Those who prefer their music more sedate, emotional and romantic will be seduced and tantilised. It is that more stripped-back, bare-boned approach to music that perfectly bridges sounds like Folk and Pop with the more edgy and physical excitement of Hip-Hop, Rap and Rock. I know Cartlidge has plenty more songs under his belt and excited by what is to come. I have heard his previous songs and can see that consistency and variation. He is not a musician that repeats himself and narrows his focus. You have a core and solidified sound but the subject matter and signatures change; each song has its own soul and says different things. You Make It…is a typically assured and compelling slice from a young man who has plenty more left inside. Being lucky enough to hear some early drafts of his music; I can vouch at just how far he has come along and fervent his imagination is. He is based in the Midlands but is no mere local secret.

I know Chaos Jigsaw will be looking forward to the coming year and what he can achieve. I know there is talk of an album or E.P. but not sure what form it will take. The music put out there is being met with praise and love. I expect Cartlidge to keep producing stunning songs and setting his sights far and wide. Here is a musician constantly experimenting, working and teasing new music. He never seems to slow and is one of the hardest-working acts I have seen in a long while. Even if songs talks of darker subjects – the weight of mental illness or painful fall-outs – they are never presented with negative emotions and fatigue. I would love to see a Chaos Jigsaw for a couple of reasons. For one, you will get to see the full range of moods and ideas from Cartlidge. His songs are so fresh and addictive you will keep coming back and be transfixed by what they to offer. Secondly, and perhaps most importantly, it will put a genuine talent into the mix. There are few Rap stars that do things like Chaos Jigsaw and have the same demeanour and abilities. Given the music being celebrated in 2016; it is likely Chaos Jigsaw will gain foothold and momentum in 2017. I am not saying he will be elevated to the mainstream in the coming months but will make necessary strides and bring in new followers. I know his music is being heard right across the U.K. and that will lead to gig demands up and down Britain. I can see him finding small fortune in London and slotting alongside the Hip-Hop/Grime stars bringing life and sermons to the capital. Who knows just what he can achieve next year but I know there is a real need and desire for the type of music Chaos Jigsaw is producing. After such an unforgiving and expendable year, that is…

WHAT we all need.

[youtube https://www.youtube.com/watch?v=2reUOpulRK8&w=560&h=315]

_____________________

Follow Chaos Jigsaw

 

Facebook:

https://www.facebook.com/chaosjigsaw/?fref=ts

Twitter:

https://twitter.com/DylanCartlidge

Instagram:

https://www.instagram.com/chaosjigsaw/

SoundCloud:

https://soundcloud.com/dylan-cartlidge

YouTube:

https://www.youtube.com/channel/UCTdFIXU41DchN5LWG6cuEPg

TRACK REVIEW: Ben Sparaco - Don’t Try to Wake Me Up

TRACK REVIEW:

 

Ben Sparaco

 

 

Don’t Try to Wake Me Up

9.2/10

Don’t Try to Wake Me Up is available at:

https://soundcloud.com/ben-sparaco/dont-try-to-wake-me-up

GENRES: Folk; Folk-Rock; Country; Bluegrass

ORIGIN:

Nashville, U.S.A.

The album, Wooden, can be preordered here:

https://itunes.apple.com/us/album/wooden/id1182501796?ign-mpt=uo%3D4

RELEASE DATE:

13^th January, 2017

TRACK LISTING:

Make Me Feel Alone Tonight Exposition of a Traveling Salesman Wooden Soul Miner Things Happen Cypress Hotel (ft. Luther Dickinson) Sycamore Jones Heartless Home Don’t Try to Wake Me Up I Know That

Ben Sparaco: Acoustic Guitar, Electric Guitar; Vocals and Claps Ross Holmes: Fiddle, Vocals; Claps and Production Royal Masat: Bass Taylor Jones: Drums Jon Estes: Engineering, Mixing and Single Mastering

Artwork by Madalyn Stefanak

Recorded at The Bomb Shelter, Nashville, TN.

Copyright Ben Sparaco, 2016

________________________

I feel the best way to transition into Christmas and bring this year down...

is with something quite calming and heartfelt. That is not to say Ben Sparaco produces music without energy, spirit and passion – far from it in fact! I shall come to him very shortly but for the moment I was keen to reintroduce a few different themes: looking at websites and visibility; young artists and their maturity; American music and the different styles that will be favoured next year – a little bit about performances and the importance of the live setting. On that first point, an artist’s website might not seem relevant to music and how good it is – that is where you’d be wrong. There is not enough emphasis put on a musician’s online portfolio and what is contained. Marketing, promotion and accessibility are just as important as the actual music itself. Considering how competitive and crowded music is, the consumer/reviewer has little time to go searching and fill in the gaps. If you have an artist who puts together a barely-there set of social media pages – scant biography and a couple of crummy photos – then that is not saying much and quite frustrating. We need to know more about an artist and who they are: a visual representation of what they are doing and what they can provide. Sparaco’s website (official) is as full, well-designed and impressive as any I have heard – link at the bottom of this review. One can, when visiting his website, get all the information they require. There is a list of upcoming tour dates (I shall flesh out more soon) and biography; bits about his music and lots of sharp, well-defined images. Alongside, you have a great design and clear website that is easy to navigate. That not only makes me want to find out more but makes me want to recommend Sparaco to others – knowing they will have so much information and clarity at their fingertips. Of course, the music itself is paramount but there is a certain lackadaisicalness to just leaving it there. Those who take pride in their work, and realise the importance of bringing followers in with a crisp pitch, are those who will remain longest. Ben Sparaco has done this and has a wonderfully clear, full and eye-catching official website. That meant I was hooked and motivated to learn more about the man behind the music – this is where he comes in:

PHOTO CREDIT: Ross Holmes

“Ben Sparaco is a young guitarist, singer, and songwriter living in Nashville, TN with a sound that combines energetic and soulful guitar playing with a unique blend of rock, soul, blues, jazz, and folk music. At only 19 years old he has begun to make a name for himself around the country playing with various acts including The Ben Sparaco Band.

Starting at the young age of 11, Ben began playing guitar with cover bands around his native Broward County, Florida. Not long after, he found the sound he had been hearing in his head in blues music from the likes of B.B. King, Elmore James, Freddie King, and Muddy Waters. Following this music forward in time, he discovered the Allman Brothers Band, which he still cites as one of his main influences.

By the time he was 15, Ben began playing his original music to audiences around south Florida with his first original band. Throughout his time in high school, he began to hone his skills on slide guitar while simultaneously delving into a study of various traditional music styles such as Gospel, R&B, Eastern Classical (Sarod), American and European Folk, Bluegrass, and Jazz.

In early 2015 Ben began a stint as a full-time lead guitarist with south Florida jam legends Crazy Fingers; a gig which exposed him to the music of the Grateful Dead until his full time departure in August of 2015. On August 18th, 2015- the night before moving to Nashville, TN- he assembled his own band and welcomed many guests to the stage of the Funky Biscuit in Boca Raton, FL. This band would undergo some personnel changes and quickly prove to be an in-demand musical force in the southeastern United States and beyond and is now called the Ben Sparaco Band. In May of 2016, the Ben Sparaco Band’s debut EP “Bring The Jubilee” was released.

After a busy summer of touring, Ben recorded his debut album “Wooden” in the fall of 2016 in Nashville, TN. Produced by Ross Holmes (Bruce Hornsby and The Noisemakers, Warren Haynes, Mumford and Sons), the record displays a decided shift in Ben’s sound towards a more string-based Americana sound mixed with his wide-ranging jazz, rock, and soul influences. Wooden is due out January 13th, 2017.

Immersed in the national jam scene, Ben has had the opportunity to share the stage with members of The Allman Brothers Band, Dead and Company, North Mississippi Allstars, Warren Haynes Band, Susan Tedeschi Band, Jerry Garcia Band, Sister Sparrow and The Dirty Birds, Devon Allman, Matt Schofield, The Heavy Pets, Roosevelt Collier, Buffalo Philharmonic Orchestra, and more at venues across the country”.

 

The maturity of Ben Sparaco – a good album title, no?! – is not just reflected in his professionalism but the music and attitude to his craft. Sparaco is not even in his twenties but has already been performing for years now. Folk, and sub-genres of, are seeing a lot of young artists (teens and early-twenties) emerge who are showing their peers how it should be done. A little diversion coming up: this was motivated by a recent letter/statement from Björk – when the press criticised her D.J. sets; stating it was hard to see her and she did not interact with the audience – who labelled such complaints/demands sexist. Women in music are expected to bleed their hearts out (the Icelandic genius described it in more vivid, chest-opening terms) and surrender – talking about their cheating boyfriends and not allowed to sing about science, philosophy or other subjects. Men, by comparison, are allowed this creative variation and do not have limited expectations placed on their shoulders. Maybe a parable, but one can look at Folk and how it contrasts the mainstream/Pop-driven artists. There, there is a proliferation of fake sounds and romantic catastrophism. Its representatives, both male and female, are obsessed with retribution, self-flagellation and over-reactive heartache mandates. Maybe there is something about Folk/Americana that attracts a more level-headed, mature songwriter. I noticed this when reviewing certain artists this year: you get greater intelligence, wisdom and originality. Of course, there are Pop stars and Rock acts who do not expend all their energy on tired themes and predictable love songs. Sparaco is a young man but has the shoulders and mind of a much older (experienced) musician. You get plenty of introspection and longing but gone are the songs that villainise a sweetheart and rip the heart to pieces. I always look for musicians that go beyond easy possibilities and dig deeper for their inspiration. That is not to say Ben Sparaco – not at this stage at least – is negating relationships and blame culture. You get songs about passion and bonds but there is never that juvenile sensibility.

After a long time with U.K.-based artists; it is great being back in the U.S. and discovering an artist who brings me to a veritable wonderland of great music – Nashville in Tennessee. Sparaco has recorded and based himself here and that is understandable. It is not often I get to look at any music/musicians that have been born from Nashville. Although there are Country shades in his music; there is a variation of genres including Folk, Rock and Soul. The Tennessee city is a desirable hub for new musicians. There, one is afforded access to myriad venues, bars and contemporaries. It such a lively and bustling area: often overlooked in favour of New York and Los Angeles. If Tennessee’s are insane Trump supporters: at least their music and musicians are a little more appealing, palatable and wise. To be fair, Nashville is in Davidson County: Hilary Clinton gained a majority vote there so I can limit my judgment of Tennessee to counties other than Davidson and Shelby. Getting back on track and it seems Nashville is becoming more and more attractive to artists – not just here but all around the world. It is not as crowded and harsh as New York (or the reputation many give it) and better, in some ways, to L.A. There are friendly citizens and some wonderfully varied areas. I know musicians who have rocked up to Nashville and all say the same thing: it is a city nobody wants to leave and instantly feels at home in. It is not a surprise to find Sparaco thriving and succeeding here. Armed with a collection of gorgeous songs – already a string of tracks under his young belt – there is also a great local scene there. To the north-west (of Tennessee) is Illinois; to the south-west Mississippi; Florida is to the south-east. Between those three states, you have cities like Chicago, Jackson and Miami – New Orleans is directly south of Jackson and another wonderful region.

What I mean is how Sparaco has this world of opportunity in a commutable distance. If California has Nevada on its doorstep – New York has Toronto nice and close – then there are even more choices for a Tennessee resident. Sparaco and band have been hitting Florida and Tennessee; they have been getting around the South and bringing their unique brand of music to the good people. I am fascinated by U.S. music and how it changes from state to state. When Wooden arrives (the debut from Sparaco) that will be met with a series of tour dates around the tri-state area but further afield. He will want to focus on Christmas for now but January is sure to be a busy one – a great way to kick-off the New Year. I feel Nashville is too associated with Country music and few understand how diverse and utilitarian the music scene is there. To say Nashville is only Country is to say London is only Rock. It is a narrow (and false) assumption that will see many timid when exploring. I would urge people to commit to Ben Sparaco but other musicians around Tennessee. I shall come to Sparaco’s music but it is interesting placing Nashville and just how many fantastic musicians play there and how convenient it is placed with regards musical states.

In order to get some perspective and clear impression of Sparaco’s present, we must look back and see how he has developed as an artist. Bring the Jubilee is the E.P. (released last year) that shows just how impressively he started. Walk on the Levee twangs with Blues strings and Rolling Stones-like licks. Flourishes and ripples cascade, kiss and breathe lustfully. Funky guitars and percussion combine with whirling organs and spirited stomp. A storm comes across the lake; the hero needs to pack his bags – a gravelled voice and a real gutsy performance make it the song it is. Constant stutter, skip and energy can be discovered: you are helpless to resist its sheer charm, kick and energy. One is compelled to bob their head and immerse yourself in the song. If the storm comes “it’ll make a change”. You speculate whether it is a physical, literal storm or an emotional one. I feel there is a mixture of the two and a need to evade coming clouds and find fulfilment and self-improvement. An exceptional blend of Blues and Folk-Rock mean it will appeal to lovers of 1960s-‘Stones and more modern examples. It is a really developed and accomplished song – it could easily fit into the catalogue of any decades-old band. Ghost of a Self is a more traditional Country-Rock track and still has that solid core and powerful vocal anchoring everything. Lovely interludes brim where guitar stands out and shines. I can hear a definite sound of America and Nashville. It has its heart beating in that landscape but definitely appeals and cross-pollinates. The guitars shine and the delicious licks are not bashful when getting into the earlobes (and other more visible regions). The songwriting looks at humanity and deeper issues but never truly exposes its meanings. The lyrics keep oblique and can be open to interpretations.

Hammer That Nail uses hammer-and-tool imagery to look at love or support. The heroine, it is said, can hammer the nail as hard as possible; the hero will hold the picture up and not let it fall. (The song) maybe looks at stress and struggle and being a shoulder and support; emotional dependence and a release for inward rage. It is interesting to dig into the song and see if it is about loyal love and friendship - or has its heart elsewhere. The song takes its mind away from obvious wording and clichés to present something quite homespun, quirky and interesting. Bring the Jubilee is a five-track E.P. defined by loyal bonds and standing up for someone. It does mention and cover love but never in such an obvious and uninspired way. The Ben Sparaco Band (as it were) is unified and tight throughout. The guitars are a blend of Country, Blues and Rock; the vocals have heart and soul but are primed and suited for the more gritty and raw end of the spectrum. It never cheapens the moments or makes it less genuine. It is a step forward from earlier tracks My Favourite Things and live examples of the E.P. tracks. It is clear touring and local gigs galvanised the band and led to some terrific studio confidence. Don’t Try to Wake Me Up has some of the more spirited and juggernaut components of Bring the Jubilee but there is a tonal shift. Things are more stripped back and there is a move from Country/Blues-Rock to Folk-Rock. That Folk element has not only defined the foundations but the lyrics too. The words are more compelling and direct. Whereas the E.P. mixed oblique and ambiguous: here, there are metaphors and similes but more direct focus and bare-boned sentiment. The vocals are more rounded: switching from the black-and-blue swagger of the earlier work but employing yellow, orange and blue hues. A broader emotional spectrum emerges and a more nuanced, deep and touching song with it. The production is sharper throughout and digs straight into the heart. Whilst barer and more lo-fi, it seems more professional somehow. You feel like (Don’t Try to Wake Me Up) is a live song but you can hear the studio quality. Sparaco is definitely committed to an album and the consistency needed to succeed. The E.P. was incredible and memorable but here Sparaco steps out on his own and really shines. A more level, complete and tender song: it never feels slow or less impactful.

Don’t Try to Wake Me Up is Sparaco’s current single and a beautiful example of what Wooden is about. Starting with aching and yearning strings – in a way, I got visions of Small Faces in the initial seconds – there is a mix of Folk and Country. You never get the full, over-the-top twang and accent of Country (a little too sickly and southern) but not quite as restrained, acoustic and level-headed as Folk. It is a satisfying blend that creates an incredibly smooth and nourishing cocktail.  Before a word is sung you are compelled by the sensual, evocative introduction that promises fine things. The hero is waking from bed to the sound of a knock at the door and a gentle woman’s voice. There is that scenery of sloth and inactivity: our man is very unwilling to budge and is being reasoned with. Perhaps there is heartache or aching bones; something weighing him down that is compelling him to embrace all the comforts of bed and sleep. In a way, the subject matter fits with a lot of Folk/Country songs and suits the tone of the composition. The way the vocal sound and is delivered reminds me a little of the late, great Leonard Cohen: there is no quite the low-down gravel and gravy of Cohen’s voice but something in the way it sounds that made me think of him. Whatever has inspired the song; you start to look at your own interpretations and views. Whilst the outside-the-door woman is stomping her feet and trying to rouse the defiant hero; he is committed to dreaming and trying to ignore the outside world. To me, the world and love have got him down. Things are moving too fast and there is, one imagines, a girl that might be playing on his mind – someone he is struggling with or perhaps let down by. Sparaco’s voice is never too heavy and wrecked; it is soft and compelling but still carries some scars and fatigue.

As the song continues, the lyrics look more at everyday/teenage concerns: not wanting to come out of bed because it is much warmer there. It is cold/less warm outside and the “average day” is bearing no appeal and meaning. Again, you start to wonder if an event or person has caused this general malaise; maybe it is one of those times where sleep and relaxation are the only tonic. One gets images of Nashville and the heat (even if the lyrics paint a colder, less sunny view) but there is something deeper, more interesting lurking beneath the sheets. Our man is unwilling to reveal too much of the backstory but I feel like there is a compendium of doubts and strains spiralling around his head. It is never quite as simple as not wanting to move and be left alone. Whether it is a parent (mother) trying to motivate the hero – or a girlfriend, perhaps – you can picture it all too clearly – we have all been in that situation. In a “picture-perfect Hell” our hero is struggling to reconcile the perfections of dreams and the limitations and realities of life. Even though the chorus has vocal chorusing on a real energy and sing-along charm; you are always hooked by the anxiety and fatigability of the lead’s words. Maybe he is trying to get away from some heartbreak and place himself somewhere tropical and Paradise: he is not enjoying having to face the world and whatever awaits him. You root for the hero and can emphasise with his plight. There is no reason to suggest he is over-reacting and being petulant. It is likely something has happened to see him ensconced in bed and not wanting to move. Slide guitar, electric spirits and Blues sparks give the song energy and extra layers as it moves along. It is not just a straight-forward Country/Folk song:

PHOTO CREDIT: Madalyn Stefanak

Sparaco is an accomplished songwriter who knows how to keep a song interesting, unpredictable and appealing. As invested in the storyline as you are; it is the composition that steals focus towards the end. It is the final verse/words that really strike and unveil huge chunks of revelation. Our man wants the attention to go away and not be discovered. There are children involved – perhaps Sparaco speaking in third-person – and the suggestion of a ghost. The children will find where “their father needs to go” but there is the fear, when the door is opened, all but a ghost remains. It is a stark image and one that compels a few different interpretations. There is that familial suggestion and needing to escape; a young man that wants to achieve more and not satisfied with the world around him; a simplistic tale of someone not wanting to elude the comfort of his bed. At the very end, that repetition of “average day” sticks in the mind and will resonate with every listener. We have all been in the situation where what lie ahead holds no appeal or promise. In terms of Sparaco’s song; you feel like there is more at play and secrets he might be holding back. Perhaps there is some backstory and heartache but you are never sure exactly what. Perhaps that is the beauty of the song: there are no true answers but possibilities and what-ifs. Don’t Try to Wake Me Up might not be able to win every single person who prefers their music harder and heavier but that is okay – there are plenty out there who will fall for Sparaco’s music. He is not just reserved for lovers of Country and Folk: there is that variation and lack of borders that means his music will strike a chord with many hearts. Wooden will provide more sides of the story and reveal Sparaco’s true artistry and abilities. As it stands, Don’t Try to Wake Me Up is a fine song that shows how an everyday topic can, in the right hands, yield a lot more fascination than you’d imagine. Exceptional lead vocals – and some great support by his band of session musicians – and you have a single that singles the Nashville artist as one to watch in 2017. I am excited to see where he will go and how people will react to Wooden – an album that is going to be packed with delight and wonderful moments.

Consider it allegory or beauty: Sparaco’s music is not easy to compare with others because it has that personal, unique affectation. There is universality to the themes and sounds but that extra ingredient that makes Don’t Try to Wake Me Up so enigmatic and seductive. Ross Holmes produced Wooden. He played fiddle and mandolin with Bruce Hornsby and the Noisemakers; arranged the strings for Mumford and Sons’ album, Babel. Some of the songs are Folk-Rock but others have Soul skin: Bluegrass lingers whilst Psychedelic-Rock shades make appearances. Before I go into more details about the album and Sparaco’s place in 2017 music, I wanted to return to my points about Nashville music, website/social media organisation and how undervalued maturity and originality are – and, of course, how 2016’s most-celebrated albums will have an effect on the new artists emerging. If we start with Nashville and one can easily discover hot talent and some fantastic music. New artists such as Wild Cub, Audrey Assad and The Vespers play here; as does Kate Arminger, The Weeks and The Delta Saints; Rachel Lynae and Tyler Flowers can go on the list too. Not only do these names help contextualise Nashville but demonstrate just what a variety of music is being played in the city. I know I long-bemoan the surfeit of attention certain areas are provided. British music media is too London-centric whilst the U.S.’ pages, for the most part, resounded strongest to the heartbeats of New York and Los Angeles. It has been the way of things for years based only on these grounds: they are two huge cities and has a cosmopolitan population. The argument dies there and many forget just how wealthy and vociferous other parts of America are. Nashville is as notable because of its music scene as Detroit, Seattle and Manhattan. The local (Tennessee) media is raising awareness but it would nice to see that reflected in the national media. No matter because with artists like Ben Sparaco pressing and rising from the trenches – surely his name will ascend beyond Tennessee-Florida-the South and see him demanded right across the country.

His adaptable, chameleon-like musicianship means he could find fortune in polemics like New York and California but succeed in all sorts of musical geographies and conurbations. It all starts with awareness and activity: appreciating a fine artist and making strides to promulgate his abilities. I hope Sparaco can find some time and dollars to come to the U.K. and perform here. In this country, there are plenty of cities and towns that would welcome him in. Not only is London catered for artists as multifarious and away-from-mainstream-expectations as him but other areas. Yorkshire is giving birth to so many wonderful Folk artists and wonderful young talent; cities like Manchester and Liverpool are traditionally hospitable and welcoming; consider Scotland and locales Glasgow and Edinburgh. There are plenty of places around the U.K. that would love to hear Ben Sparaco and Wooden’s delights. I have talked about maturity and how it’s a commodity not appreciated by all musicians. I realise a slightly ingénue, child-like naivety – a kind way of calling someone moaning and hysterical – will be popular and connect with many. There will always be a place for acts who put their hearts on sleeves and let it bleed all over the floor. Björk was right: not only is it more interesting talking about something meaningful/original but those who do often have to fight for credit and equality (women especially).  Don’t Try to Wake Me Up trades commodities like love and emotion but it is certainly not your average tale of woe and bitterness. Far from it, in fact. It is a song that hits you straight away but stands up across time – you will not tire of it and find something new to appreciate each time you come back. Despite Sparaco’s tender years, we have an artist who seems ready for the challenges ahead and already comfortably over the first few hurdles.

The fact he takes a serious and dedicated approach to his music is mirrored in his online presence. The social media pages are a-flowin’ with updates and insights: the young artist always eager to keep his fans informed and let them know what he is doing. His official website remains one of the most characterful and memorable I have come across. Housed are all the social media links and music; the biography, photos and tour dates. That is what you want from a musician – so many negate this and provide very effete, sallow scraps. Rebus, romance and a business-like approach can be found on that homepage: it is an asset that will help recruit so many new fans and be an indispensable tool for any venues and promoters in this country. I shall leave those points alone because the most important thing is the music itself. Don’t Try to Wake Me Up is a fantastic track but joined with plenty of sibling support. The album is something you will want to get hold of. Wooden confirms what a consistent and strong songwriter Ben Sparaco is. If you are a fan of his previous E.P. and the rousing Blues numbers then you will not be disappointed but there is more emphasis on the classic songwriting playbook the likes Neil Young and Bob Dylan penned in the 1960s and ‘70s. The lyrics are no less evocative and scenic; the characters, emotions and performances just as personal, emotional and open. That is not to say Wooden is a sombre and low-energy album: it has plenty of rouse, swing and spirit when required; songs that paint very ornate, beautiful pictures; moments that impress and amaze in their candour and literary imagery. Nobody will be able to hear the album and not be amazed. I am judging my review/sentiments on the few numbers I have heard.

I know Sparaco will want the album to resonate as widely as possible. It is not just reserved for cliques of Tennessee, Florida and the southern states of the U.S. Wooden is a universal, one-for-all creation whose sweet-scented oaks and tender heart will seduce and compel listeners around the globe. Although there is more emphasis on Sparaco: the Wooden album features a line-up of Nashville-based session musicians; Luther Dickinson makes an appearance too. Talking about the album, Sparaco had this to say: “These songs all were written on the road and each one sort of follows a different character. Usually the stories end up being kind of morbid in an almost comedic, ironic, way. I think it makes for an interesting combination when you put some seriously weird, dark lyrics in a song that is otherwise happy and hopeful sounding, and with some of the jazz and jam influences that I’ve always had, it ended up being something that I think sounds comfortable and familiar while still being unique in its own way.” After such a tumultuous, strange and hard year for many: 2017 will be given an earlier treat and reassurance things will be that much better. For now, Ben Sparaco can relax in the knowledge he has crafted a fine album that marks him out as an extraordinary songwriter – one instilled with confidence, natural ability and an original voice. His music is not reserved for a particular mood or time: it is a faithful companion when you are upbeat and inspired (looking for an appropriate soundtrack) or in need off an unhappiness suppressant. Similarly, if you want to reflect and ponder things; Sparaco’s music is perfectly suited for the task. January will be an exciting one for the Nashville resident. Not only is he going to be busy promoting his debut album but will be thinking what to do once Wooden is out in the world. There will be the obligatory local dates but he will be casting his mind further afield. I know international demands will arrive in time and that will see Sparaco’s music exposed to new lands and faces. With all that in mind, and festive sounds echoing in the breeze, I know Ben Sparaco will have…

A very happy Christmas.

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_____________________

Follow Ben Sparaco

 

Official:

http://bensparaco.com/

Facebook:

https://en-gb.facebook.com/BenSparacoMusic/

Twitter:

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

Instagram:

https://www.instagram.com/bensparacomusic/?hl=en

SoundCloud:

https://soundcloud.com/ben-sparaco

YouTube:

https://www.youtube.com/user/Bensmusic127

TRACK REVIEW: 40 Shillings on the Drum - Everyman

TRACK REVIEW:

 

40 Shillings on the Drum

 

 

Everyman

9.6/10

 

Everyman is available at:

https://www.youtube.com/watch?v=-TNvIFP4ijU

RELEASED: 16^th December, 2016

GENRES: Folk-Rock; Punk; Gaelic-Folk

ORIGIN:

Brighton, U.K.

________________________

IT is hard coming up with new angles to describe bands but, luckily, Brighton’s...

40 Shillings on the Drum provide enough inspiration and personality to compel original aperture. I will get to them in a second but, knowing their influences and type of sound, it gets me thinking about older artists; more about the sheer breadth of Brighton acts and facets missing from contemporary music. A lot of modern bands – and other musical denominations – source their sound from ‘newer’ musicians. I have been following some hot and talented bands this year: by and large, you hear influences from the ’90s – present day – a range of bands from Arctic Monkeys to Oasis, for instance. It is understandable this should occur: they are among the most popular and influential acts we have seen this generation; many have been compelled to start bands and follow in their footsteps. I am interested why certain acts/time periods inspire certain artists. It may be too complex for this short space – lest I forget the reason I am writing a review – but I am finding a lot of bands doubling-up and melting into one another. I can see the lure of, say, having Oasis and The Libertines as guidance: two youthful, pride-against-the-tide bands that took themes of Britishness and modern life and gave it a hopeful, optimistic bent – albeit with their distinct blends of swagger, wit and defiance. There is a validity in admiring such artists; taking their music to heart and creating your own version. The trouble is, too many new bands are either indistinguishable from their heroes or too bland to really spark any sort of interest. I feel, as time progresses, attention spans will become shorter and modern music – in the band market at least – will be very narrow and homogenous. Whilst it is wonderful discovering new groups and the energy they possess: I yearn to find those who cast their minds further back. Often I have mentioned a band (from the ‘60s and ‘70s) and been met with blank-eyed gormlessness.

Many reply with the illogical and clichéd: “That was before my time!”  Reassuming you have no access to the Internet, radio or conversation that would wash: the fact that is not the case means such a phrase is inexcusable and stupid. It sounds like a diatribe unfolding but too many people’s musical imaginations begin and end in the last couple of decades. Fortunately, there are some artists breaking through who have grown up with savvy parents and developed a keen taste for music of older decades. Whatever your age or music tastes, it is vital for one, in order to become more rounded and cultured, look back at music’s full spectrum and genealogy. I was brought up listening to the likes of T. Rex, Steely Dan and The Rolling Stones. Being a ’80s child – but preferring ‘90s sounds – I was introduced to the cream of (the previous couple of decades) and actually getting to hear great music of the 1940s and ‘50s. Now, that passion and retrospection have fostered a deeper and more varied musical collection. Was I stubborn and content to stick with the best of the 1980s – perhaps a misnomer and contradiction in terms to most – that would mean denying myself a world of wonderful music. To the same extent, I feel bands that blow second-hand musical smoke is robbing future generations of older artists. This all ties in neatly (or loquaciously) to the Brighton-based band, 40 Shillings on the Drum. The band love modern music but one hears, when digging into their music, shades of The Clash and Elvis Costello – two names very few modern-day bands source. I shall expand on this, but for the minute, let’s learn a bit about the band of the hour:

“After over a year’s preparation, ’40 Shillings On The Drum’ launched online in July 2016 and performed their first gig on Wednesday 27th July as part of Churchill Square’s Busk Stop event in Brighton. Attracting the largest turnout of all the acts to perform, the band subsequently went on to win the competition and recorded a song and music video in famous local studio, Brighton Electric, in September 2016 as a result. As well as the competition, the band have established themselves on the local scene with shows at The Hub, The Marwood and the prestigious Prince Albert. They also appeared at the Brightona Bike Festival (the largest motorcycle festival in Europe) and Oxjam Festival Lewes, along with interviews on national station Heart FM. The band shall be seeing 2016 out with a final performance and single launch show at the Latest Music Bar in Brighton on 21/12/16 where they will also be showcasing their music to the founder of End of the Trail Records.

40 Shillings On The Drum are armed to the teeth with an array of songs about life, love, friendship, and getting smashed out of your brain, and are ready to take on the world, one town at time.

 ‘Great recordings. Love the distortion, violin and your guitarist. You've got a great Brit pop style of vox too!’ Bobby Banjo, Beans On Toast

‘I love the energy on these recordings, it's something that I think is really missing from contemporary music. There is obviously an Irish influence, but I hear shades of The Clash (at their best), Thin Lizzy, Boomtown Rats, Elvis Costello. You've really managed to capture the feeling that you are reflecting real people on the street.’ Mark Flannery, Engineer/Producer (U2, Black Sabbath, Depeche Mode)

‘Opener Ode To Old Reilly set the tone of a band big on musicianship and melody — and intelligent lyrics with both a meaning and enough hooks to get under the skin of even the most hardened music lover.’ The Brighton Magazine, brighton.co.uk

‘Ain’t too many acts have mixed Gaelic folk and rock successfully. Great musicianship, catchy songs, I think you deserve to do really well. I can hear it stands head and shoulders above most of the new stuff I hear.’ Alex McNamara, The Australian Pink Floyd Show (The world’s biggest selling tribute act)”.

PHOTO CREDIT: Kris James Photography

Critical snapshots show keen ears detect some mighty musicians in the songs of 40 Shillings on the Drum. The band’s name itself seems born from the 1970s – how many modern bands have a name as long, interesting and forgoing a preposition (at the start of their name)? The East Sussex crew have, I would imagine, enjoyed a rich and qualitative childhood consisting fine vinyl and their parents’ record collections. Either that or the guys have forgone the worst instinct of their peers and expanded their mind past the 1990s. Before addressing a new topic, I wanted to carry on with the idea of influences. There is a cogent and wonderful blend of 1970s/’80s Punk and Thin Lizzy-esque energy to 40 Shillings on the Drum. It might be doing the band a disservice but you can hear their inspirations blazing on their sleeves. Rather than merely replicate lesser-included influences, they use them as a springboard and provide their inimitable sense of identity, character and delivery. Not only do we you hear some fantastic artists in the music of 40 Shillings’ but that will obviously inspire their peers to be bolder and more original with their sounds. I will go into more depth in the conclusion, but I am excited to hear another Brighton band come to view. Talitha Rise was the last act I reviewed from the city (they are based nearby in Lewes) but it is hard to connect dots from them and 40 Shillings on the Drum. What one gets from the guys is a blend of relatable songwriting tropes – relations, friendships and the bonds that tie us – with a healthy dose of kebab-festooned, beer-scented belch. It would be rather humdrum were (the band) another group of teary-eyed youths toiling under the lash of doomed love. 40 Shillings on the Drum, despite hints to monetary units and older-days whimsy, are capable of staggering into town and vigorously urinating on the nearest lamppost – perhaps it is unsurprising they have been branded with the same iron as The Clash.

Ever since the downward arc of bands like The Libertines and The Strokes; I have been lusting after a group of boys (keep going…) that have that leather-clad, who-gives-a-f%ck attitude but keeps things intelligent, mature and intriguing. Back down on the East Sussex coast, I can talk about Brighton and just what a cornucopia of talent lurks down there. With reputable venues such as Green Door Store on their doorstep, the guys have ample opportunities to cut their teeth and find the perfect canvas for their artistic blend of (young and rowdy) Expressionism and (British, rebellious) Dadaism. Normally, I am ensconced in London and pre-occupied with all the music coming from there. The last few weeks have given me a chance to look at Brighton and what is happening there. It is not a surprise the city should be back in the forefront – it has always been a terrific area for creativity and excellence. There is something about the community, vibes and landscape that inspires so many musicians to do terrific things. More diverse and colourful than many northern enclaves; less suffocating and quasi-homicidal than London’s bustle: Brighton provides a comparable safe haven and vibrant melting pot many are being attracted by.

The band have got a lot of positive reviews and vibes from their current single, Everyman. Looking back, we are still at the early stage of 40 Shillings on the Drum’s career. The boys have released the track Brighton Belle – one that differs from Everyman but is no less alluring, striking and immediate. Brighton Belle begins with explosions – that recall, rather futuristically Jamie T’s Tescoland (from Trick) – and has that smell of the city. You can hear the late-night unpredictability and the sunshine of the day – the contrasts and shades that make Brighton what it is. The song’s heroine, perhaps in the seaside city or somewhere else, grabs a latte and accentuates her figure – flirtatious, fulsome and fun. You are helpless to resist the sheer bonhomie and chanting vocals from the band. The Combat Rock-era Clash comparisons are not so short-sighted. There is that mix of Reggae, Rock and Punk; shades of Folk and some Alternative undertones. Following the story, you get impressions of a rather alluring girl who defines the city and has the hero spellbound. Squalling, flurried guitars and determined percussion is the soundtrack to a one-night dream: a chance to get with the divine heroine. At every stage, there is that sense of abandon and carefree attitude – that flies against the tendency to produce something anxious, heartbroken and sorrowful. It is small wonder the song has captivated so many and provided so important. It will be very well-received in the live environment and surely get the crowds singing along and enraptured. The fiddle/violin inclusion that occurs near the song’s end has been lauded and highlighted. It shows the band can mix Gaelic Folk threads and bond that with something resolutely English, swaggering and spitting. Few bands can pull off such an odd and two-sides-of-the-tracks marriage. The fact they make it work so wonderfully shows how assured and talented they are.

40 Shillings on the Drum have original songs in their arsenal such as Ode to Old Reilly – which was, and several other tracks were, played at Busk Stop at Brighton’s Churchill Square Shopping Centre (back in July). One imagines these recordings will find their way onto a future E.P. but, as they explain to interviewers and YouTube commentators, they are full of spirit and looking to make some big moves in 2017. One can hear where the band have come from and how their material has developed. Brighton Belle, when it was performed in July, was hugely popular with local shoppers and has been compared to bands like The Waterboys. It is interesting to see which other groups commentators compare the Brighton band with. The Levellers have been mentioned as have Frank Turner and the Sleeping Souls. Dan Scully, Steven Cobley and Seb Cole; Barry Bloye, Sue Buckler and Danny Woodford make up the intrepid gang and have grown more confident and assured with every new song. When Scully travelled from Miami to the Bahamas, in search of inspiration, that is what he got. Having played in other bands and other genres: the exposure to tropical seas and island breeze directly compelled a new direction – 40 Shillings on the Drum and their Folk-Rock mantras. Not only is it (Folk-Rock) a place Scully could express his feelings and stories organically and openly – he could expand his imagination with a large and supportive band; there are fewer limitations in terms of sonic ambitions and personnel numbers. All that has come before – and Everyman among us – it appears the group have a proper set of songs and definite vision. It would be nice to see their previous numbers like Ode to Old Reilly and Brighton Belle included: put some newer moments in there and really throw their all into it. Just how far they can go is anyone’s guess: do not bet against them being one of the hottest-tipped acts of 2017.

There is psychogeography and flâneur mixture that greets Everyman. In that sense, there is the impression of floating around urban conurbations and spectral in a city; on the other hand, a certain casualness and romantic stroll – it is rather exciting, contradictory and unpredictable. Those wanting a Brighton Belle-like bull out of the (Folk) gate will be rather taken aback. Conversely, Everyman opens with plaintive, elegant pianos. You get flecks of the Irish countryside and a rogue figure traversing the craggy heath: the wind in his hair and the bare, twilight horizon in the middle-distance. The band’s idiomatic beauty and tenderness make the song less a Folk classic and more a sweeping, shivering epic. If the composition is spine-tingling, full and heart-warming: the scenes and images it provokes are peripatetic and fast-moving. Anybody who can predict what comes next is prescient and clairvoyant. The guys, in the video, plug in their gear and take the song in another direction. The guitars and plugged – the amps go up to twelve – and the strings and pianos sharpen; percussion tight and fierce; the bass strong and resolute. Again, you get a Clash-esque burst mixed with The Undertones, Levellers and The Jam. Sure, there are ‘70s Punk-Rock suggestions but the band are completely separate from any influences. None of the band mentioned would start so sweetly and graceful. At the beginning, you feel we’re bedding-in for a song about heartbreak and confusion: one where the hero would bemoan his lack of luck and survey the ruins in which he stands. The fact Everyman turns into an after-hours lock-in is to be commended. It certainly catches the most astute ears by surprise and destroys images of literary alpha males wiping the rain from their brows. In fact, you get a clean-shaven drunk wiping the cigarette ash from their teeth.

One of the minor, if completely understandable, criticisms is the sheer pace of the delivery. It means the words can overlaps and create run-on sentences: you might be a few seconds behind and trying to piece the song together with little success at the start. It is not a big issue because it is the song’s energy and dance that resonates and impresses most. One can glean thoughts of the hero avoiding a licking fire and remaining above the heat; other succumbing to a certain fatefulness and limitation. Maturity is investigated and the hero does not want to be (like his counterpart). Whether endless drinking sessions and a lack of responsibility are compelling our man; the need to taunt risk and keep his life interesting and changeable – you interpret the song and try to get to the bottom of it. In terms of genres/sounds, you can hear 1970s inspiration but there is a bit of the ‘80s in there as well. The big arena bands of the decade are all in there so too are the more credible Punk artists. Everyman is such a standout track that no other band is attempting. Vintage, classic compositional tones melt with modern, relevant lyrics that we can all relate to. The performances from all are exceptional and tight. As the song races along, the band keep up with things and ensure proceedings do not get undisciplined, rambunctious and needlessly sprawling. It is, at this juncture, you can hear a continuation of Brighton Belle: that same knees-up festivity and lack of future plans. The hero is taking advantage of his age and lack of commitments; he is embracing what it is to be regular and ‘normal’. That is what I got from the song: a parable of a soul who will not submit the boredom and nine-to-five attitudes that surround him. That is one of the strong points of Everyman: it can be taken a number of ways and will mean different things to different people.

Our man is trying to be tied down and defined: neutered and brainwashed into being Just Another Human. The song’s fierce, rousing and brothers-in-arms fizz makes it an insatiable, moreish cocktail of sharp spirits and cooling cocktail fruits. Crunching, head-nodding and a real swinging beast: another song that will get the audiences diving, jiving and lost in a sea of sweat and hoarse chorusing. Given that misleading, if utterly beautiful, introduction, you have a lot of catching up to do. The fact the song is neither too intense nor too slight makes it nuanced and repeatable. You come back to experience that moment: the one where Classical pianos give way to pissed-up strings. It is that intoxicated, fingers-up-to-the-authorities jailbreak that sounds like a superhero theme. In a way, that is what Everyman is: an epic, bracing song that could score a sort of twenty-first-century super adventure – one where domesticity, maturity and responsibility are favoured over superpowers, arch villains and saving the brave citizens. The hero does not want to be a man “like you” – perhaps someone who is too buttoned-up and safe. Our man gives no quarter to such overly-safe attitudes and wants to revel in his crapulence; embrace something much less advisable and ‘adult’. Again, I might be overlooking something more pure and contrasting. I hear these themes and concerns being raised; something that matches the trouser-kick rowdiness of the performance. With Rock and modern Alternative bands too mannered, watered-down and riskless: what place have artists like 40 Shillings on the Drum in the modern scene? Well, the answer is very obvious: they are more needed and necessary than ever before. Everyman is a song whose title tells you all you need to know. It is a song for the masses that speaks for them – even if the overall desires and electioneering is a little teenage and destructive. The band deals with heartaches and love but love to ladle lashings of gin, rum and lager.

In fact, the band name suggests shanties about seaside rumpus and oiled blokes spilling into the street. One hears strings ache in the distance; the bass cutting in and driving the song; the percussion cracks and gives punch and pugnaciousness to the lyrics. It is the shredding and axe work that makes the biggest impression. The fire-handed arpeggios and sheer epicness of the delivery puts a smile on the face. I have mentioned superheroes and dramatic themes songs. Everyman could score a film or an awesome, action-packed scene. The guitars are scintillating and the heavens open with cosmic ballet, impending invasion and spiralling winds. The hero is trying to make it where he can and grab opportunities that come his way. He is, after all, honest and real – perhaps something that is holding him back. Into the final moments, the band throws it all together in an awesome way. Strings strike with Classic beauty; the bass, piano and percussion create their own weather systems and emotions – the guitar continues to ignite, explode; uttering fireworks and expletive wherever it chooses to roam. You are left giddy with excitement and energy: always grabbing onto the composition like a raft in the tormented seas. Everyman is another stunning song that shows Brighton Belle is no one-off fluke. That is quite reassuring and pleasurable: the band has that inbred talent and natural affinity for what they do. How this develops, with talk of a rumoured debut album afoot, will be wonderful to see. The blossoming, blooming marvellous boys (and girl) are going to be one hell of an exciting band to see in 2017.

In terms of the mainstream artists making moves through 2016: there have been so many great albums produced and it all looks really promising for next year. I am keen to see how 2017 plays out for the established artists but more so for those just starting out. The musicians making their initial steps are competing for longevity and future acclaim. It is always encouraging finding an act that seems ready and prepared for all music will throw their way. 40 Shillings on the Drum not only have the live experience and zeal to succeed but a special sound that belong to them alone. I started by looking at themes like older influences and what is missing from a lot of musicians – I shall return to those topics before I finish off. Everyman is a confident and terrific track from a Brighton band already being recognised and proffered. It is not just the local press that is seeing what they’re capable of. The group are getting respect further afield which brings me to their nationwide potential and international accessibility. Every time I review an artist, I am seeing where they can head and who they’d most likely appeal to. 40 Shillings on the Drum are not just reserved to those who like a bit of Rock or prefer their bands looking a certain way. There is a chameleon-like ability to the boys that bleeds into their music. It is hard to define what genres they play and they seem to cover a wide spectrum of emotions and sounds. At its heart, you have a group that look at common issues but never make it sound too serious and morbid – something many can take note of. That originality and flair are being lauded in Brighton but I feel there are bigger opportunities for the band. I know London has plenty of venues and fans waiting; there will be other cities primed and oiled (waiting for the boys). In terms of non-U.K. gigs, I would expect 40 Shillings on the Drum to look around Europe and the U.S. Even though the majority of our people seem content to abandon the E.U. – that is not the case with regards our musical talent. If budget and time allow such adventurousness: I can picture the group performing a few gigs on the continent and enjoying success there. Given their fondness for loose beer taps, loose tongues and loose morals: who knows what carnage and chaos they can bring?! That does them down but they do have that youthful energy and ambition that should not be faulted.

If this year has proved anything it is how the landscape is changing and what is currently being favoured. By that, I mean there is a definite desire for music infused with urgency and truth. There are acts/bands who talk of romance and their experiences finding success – mainly, it is those acts who focus on other areas that are being afforded the biggest slice of the critical cake. I have tried to explain why 2016 has differed from previous years in terms of its success, consistency and themes. A lot of the top albums of this year has been defined by a certain energy and defiance: a need to hit against oppression and address important issues. I am not sure whether this will continue into 2017 or whether there is going to be a change. It is always hard predicting which artists are going to impress critics at any given time: I am sure 40 Shillings on the Drum are going to get their share of acclaim and create some rather special memories. I would love to see an E.P. from them – I think they may be planning an album next year – and more songs like Everyman. They have a great sound and attitude to music that is reflected in their songs. In addition, they have that live reputation and a collection of solid reviews. It is the location, dynamic and attitude of the band that really excites me. Were they based in London they might feel a little suffocated and struggle to get the acclaim they hoped for – with so many other artists playing in the city. Sure, they would be successful but there would be a sense of anxiety and stress. The fact they are in Brighton not only provides more space and breathing room but a different (perhaps easier) way of life is proving conducive to fantastic music. The city has some great venues and is starting to take some attention away from London – bands such as The Wytches have made sure of that.

I know the 40 Shillings on the Drum armada will be travelling around the country next year but have a good and reputable base in Brighton. It is, unlike many smaller towns, somewhere they’ll always be opportunities and willing audiences. The group manage to balance a relatable core of love and relations with their own lyrical bent. You never feel bored or uninspired listening to Everyman: it has some familiar lines and ideas but is one of the more original and interesting songs I have heard this year. The guys are young and living life: they have had their hearts broken but are resolute and defiant. As they state quite flatly: they like a beer and night out and do not want to grow old gracefully. That spirit and youthfulness are already seducing the media and pulling in a loyal core of fans. Let’s hope they keep the juggernaut steaming ahead and continue to provide the same wonderful music they have ended this year with. It is not just the brilliant songwriting and tight performances that define Everyman: any influences you hear are quite unexpected and add a certain something to the song. It might sound odd but one grows tired of the same bands employing the same influences. I won’t name names (on either side of the coin) but you know the type of thing I mean. There are a lot of modern sounds being reinterpreted by modern bands – you do not get many older acts coming in. Perhaps it is not a huge issue but it is refreshing finding a young band who cast their mind and attention back to the legends of the 1970s. I mentioned elements of The Clash, which other reviewers have alluded to, and bits of Elvis Costello. There are faint hints but it is always pleasing finding this type of musician inspiring the new crop. All of these considerations, elements and strands put together have led to a band worth watching next year. It is the sort of time those eager and forward-thinking start to look at those artists they feel will define 2017. I will start making lists (the ones to watch 2017) and will add 40 Shillings on the Drum to that. The band are hungry and know what they want to achieve: they are looking for success and expand their fanbase. If they continue to work as they have, and provide incredible music to the people, that will be...

A reality very soon.

[youtube https://www.youtube.com/watch?v=-TNvIFP4ijU&w=560&h=315]

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Follow 40 Shillings on the Drum

 

Official:

http://40shillingsonthedrum.uk/

Facebook:

https://www.facebook.com/40ShillingsOnTheDrum/?fref=ts

Twitter:

https://twitter.com/40shillings

Instagram:

https://www.instagram.com/40shillingsonthedrum/

SoundCloud:

https://soundcloud.com/scullzz

YouTube:

https://www.youtube.com/channel/UCsHOB0XHK0W_MQeq3I2ZKCg

INTERVIEW: The Artisans

INTERVIEW:

 

 

The Artisans

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MUSIC is defined by many different things but rarely does one…

experience musicians who do something truly noble. Robert Woodside and Brian Lawlor are The Artisans. Their latest project is called Trilogy of the Somme: a beautiful, dramatic Rock piece/suite that helps to raise money for Erskine Home, Help for Heroes and the Royal British Legion. The guys wanted to highlight the wastefulness of war and commemorate the 100^th anniversary of the Battle of the Somme. In addition to planning new material for next year, the chaps have been busy on the interview circuit in Scotland – getting the message out there and raising awareness for their project. It is a worthy and impressive feat from men who know the true cost of war and have paid tribute (to the men who died) through music. It was, therefore, an honour to speak to Robert and Brian about Trilogy of the Somme and the inspiration behind it. The guys talk about 2017 plans and how they are spending this Christmas.

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

Hi Sam. We are absolutely fine: had a busy week just coming up to Xmas - same as everyone else

Robert and Brian, you are The Artisans. What was the reason behind the name and how did you two get together in the first place?

Robert: I came up with the name The Artisans because I thought it meant ‘workmen’. It’s also an anagram of ‘Sinatra’….which is no bad thing!

Myself (Rab) and Brian played in several club/cover bands in the ‘80s/’90s. We were the rhythm section for many a band but decided to do some of our own stuff, rather than covers!

You are from Hamilton (Scotland). What is the music scene like there and was there a lot of local support for The Artisans?

Robert: We are both from Bellshill, Lanarkshire. There’s always been a healthy music scene in Bellshill and the people there have always been supportive of any bands or artists.

[youtube https://www.youtube.com/watch?v=46Mc0ikLRN4&w=560&h=315]

Trilogy of the Somme is your new project – it commemorates the 100^th anniversary of the Battle of the Somme. What is it about that battle that resonates and compelled you to mark it?

I wrote Trilogy of the Somme to commemorate the 100^th anniversary of the battle.

Did you chaps have relatives involved in that battle?

My own grandfather took part in the battle. He was an orphan so if he never survived the Somme my family would never have existed!

I also wanted to highlight the waste in lives - on both sides - which affected every city, town or village from Land’s End to John O’Groats. The C.D. was getting some airplay coming up to Remembrance Day - and hopefully every future Remembrance Day.

The project raised funds for Help for Heroes, Erkisne Home and Royal British Legion. Are those important charities to you and will you continue to work with them into next year?

Trilogy’ was set up to raise money for the Erskine Home, Help for Heroes and the Royal British Legion.  Hopefully, it will carry on into the future, on each future Remembrance Day.

You have toured radio stations and spoken to a lot of people about Trilogy of the Somme. What has been your favourite experience over the last few weeks?

We were recently over at East Coast F.M. interviewed by Dave Knight and it was a total blast! A great time had by all concerned.

Not a lot of people are doing anything similar to this. Is it quite frustrating knowing – excuse the wordplay – you are in the trenches fighting alone?

Yeah, that’s right, Sam: not too many people involved in this type of thing. Given the fact that the battle itself was a hundred years ago that’s totally understandable.

 

I believe you are heading back into the studio to record new material – helping to raise funds for R.A.F.A. What will that involve and can you reveal what you will be releasing?

Yes. We’re going back into the studio to record a charity single for the R.A.F.A. (Royal Air Force Association). It’s going to be called The Finest Hour (super marine) and will be out in time for the R.A.F.’s 100^th birthday on April 1^st, 2018.

I’m hoping to sample the sound of the spitfires’ engine, (The Rolls Royce Merlin), and also the voice of Winston Churchill on the single!

What does the rest of this year hold for you in terms of music/promotion?

Myself and Brian have been to several radio stations in 2016 and hope to continue to visit new stations in 2017! Catherine arranged all of those visits and has been amazing throughout the year. She really has pushed hard to promote Trilogy of the Somme.

Looking ahead to 2017: is there a temptation for The Artisans to release an album or E.P.?

We’re hoping to record The Finest Hour in January 2017 and then work on an album (of mainly Rock stuff, Reggae and a few ballads). So, yes, an album is on the cards.

It is almost Christmas. Any plans for the big day and how will you be spending it?

Xmas Day is always a family affair and is the only day I have an ice-cold glass of Champagne whilst sitting in a very hot bath and watching telly!

Is there a message you’d give to the people out there? Maybe those you are raising money for?

I would like to thank the staff at Erskine Home who are just incredible and made our visit there earlier this year so welcoming.

Finally, and for being good chaps, you can each request a song and I’ll include it here (not one of your own as I’ll sort that out).

Robert:  Lady Antebellum - Need You Now

[youtube https://www.youtube.com/watch?v=eM213aMKTHg&w=560&h=315]

Brian: ­ Toto - Africa

[youtube https://www.youtube.com/watch?v=FTQbiNvZqaY&w=560&h=315]

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Follow The Artisans

Official:

http://theartisanproject.co.uk/index.html

Facebook:

https://www.facebook.com/ScotsArtisans/?fref=ts

Twitter:

https://twitter.com/Scots_Artisans

FEATURE: 2016: The Tragedy and the Triumph

FEATURE:

 2016: 

The Tragedy and the Triumph

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THE one thing people keep saying about this year is...

how much heartache and loss have defined it. Every time you switch on the news we are reminded of the conflict and hatred that is pervading society. Whether it is the continuing – slowing but still occurring – disruption and bloodshed in Aleppo; the strange rise of the bloated demagogue Donald Trump or the upset we see reported on the news- nary a day elapses without something sobering unfolding that reminds us how fragile and capricious humanity is. That is true of music that has seen its Grim Reaper equivalent be especially cruel and elitist. Many are saying there’s conspiracy afoot and a bad aura: the fact is, people die and it is a bad year. When musicians get to a certain age, there is always the risk they will die; diseases like cancer are still rife and take no prisoners when selecting its subjects. I am not sure why 2016 has been so ill-balanced and sadness-heavy but the one thing we can take from it is that 2017 will be a lot smoother and less fraught – that is the intention anyway. In terms of politics and separation; we have seen the worst of it this year; I cannot imagine a year quite as spectacular and world-changing as 2016 happening for a very long time. The reason I wanted to write this was to document the loss we have suffered in the music world whilst balancing it with the joy and pleasures.

I’ll start with the ‘bad’ side of thing: The Devil that has been hovering on the shoulders of the divine and making sure things are not as smooth and happy as they should be. Of course, we all remember how badly this year started. It is almost a year since David Bowie died: perhaps the starkest event that has afflicted music in 2016. I remember waking up to the news and not being able to comprehend or understand it at all – he wasn’t reported as being ill so how does he just die?! We all know the truth now – the fact Bowie was keeping his cancer fate hidden from the media – so it kind of seems explicable and rationale. Nobody expected David Bowie to leave us for a couple more decades at least so it seems like we have been robbed of many more years of music. Luckily, Blackstar was released days before his death and, many would argue, the biggest and most ambitious album of his career. Arriving from a man who knew there was nothing he could do to prolong his life: Blackstar is surprisingly brave, focused and accomplished – few of us, in the same situation, would retain the strength and fortitude to produce music; let alone anything as stunning. The album was recognised for a Mercury Prize and was met with huge critical acclaim. There has not been a Bowie album, since his last golden period of the 1980s, when there was such universal consensus: a work of genius and a startling insight into a human ailing and tackling mortality. The fact Bowie has gone should not cause sadness but remind us of what an artist we have – someone who, nearly a year after his death, has more music in the vaults for us.

Following Bowie’s death, nobody would have expected Prince to be the nex big musician to die. That news was perhaps even more of a shock: the fact Prince’s death was self-inflicted (albeit accidental) made it extra poignant and unexpected. Dying alone at his Paisley Park ranch/studio; overdosing on pain medication in a lift – such a harrowing and upsetting image. Again, we were delivered the news without warning and were forced to face a future without new Prince music. Like Bowie, Prince has delivered such an extraordinary body of work that will live in infamy. We must not ignore the influence and affect Prince has had on modern music. I’d say he is even more influential than Bowie when it comes to inspiring the new generation and leaving a mark. Despite not being a huge fan of either musician, I recognise their status and excellence: I have been retrospectively falling in love with their finest songs and realising, a bit too late, what mavericks and peerless leaders they were. Prince, like Bowie, was/is a hugely innovative and staggering musician that cannot be compared with any one human and created shockwaves around the world. It was not just David Bowie and Prince who died this year but Leonard Cohen too. In my view, the second-best songwriter the world has seen (behind Dylan) was also someone who kind of suspected he would not live too long. His final studio album, You Want It Darker, hints are death and mortality with unfiltered frankness and wit. Cohen knew he was in his final moments and, like the great Bowie, funnelled this into a career-high record. I will not speculate as to why this correlation occurs: it is no accident Leonard Cohen and David Bowie threw everything into their final word; impending demise focuses the mind in an alarming way, creatively. Cohen’s 2016 album is full of poetic brilliance and wonderful rich scenes. Being Leonard Cohen, there is humour and pathos in the same marriage bed; quotable lines and that gravelled, rich voice that will echo through the ages. With only a few days of this year remaining, let’s hope there will be no more casualties to add to the list of legends we have lost this year. Glenn Frey and Lemmy have gone; other, lesser artists – but no less important – and it has been such a cruel year for the industry.

Against the tragedy of 2016 has been a coexisting, paralleled triumphalism. Music has outstripped every other art form in terms of excellence and inspiration – maybe a biased view but no film, play or work of art can rival what the best of music has provided. There is a lot of debate surrounding this year’s biggest album: many critics opt for Beyoncé’s firecracker, Lemonade, whilst many plump for the likes of Frank Ocean and Bon Iver. The mainstream has been rather prolific and sensational this year I must admit. The past few years have seen some great albums but not the variation and mass one would hope. It is not just the ‘established’ and well-trodden artists that have produced immense work. New bands like Car Seat Headrest and Hooton Tennis Club have turned up the heat; age-old gods Paul Simon and Nick Cave and the Bad Seeds have provided us immense albums – I shall address the latter soon. New, vibrant artists Anderson Paak, Angel Olsen and Jenny Hval are all among 2016’s best: Frank Ocean, Solange and James Blake have to be in anyone’s top-twenty list; The 1975 and Chance the Rapper deserve the hearty nods the media are providing them. Even if once-reputable sources like NME have gone off the boil at the moment  – 1975 are good but absolutely do not deserve to receive the Album of the Year accolade – is a minor kink. More lucid and sage sources seem to boil the best five albums down to Beyoncé’s Lemonade and Solange’s A Seat at the Table; David Bowe’s Blackstar and Frank Ocean’s Blonde – Radiohead’s A Moon Shaped Pool and Chance the Rapper’s Coloring Book usually get the fifth place. Of course, there have been many more terrific albums created. Two things I am noticing is the dominance of female artists and more politically-minded records being established.

From Kate Tempest’s Let Them Eat Chaos – an album that should be on everyone’s list of 2016 greats – and Anohni’s Hopelessness; the male equivalents in the form of Skepta’s Konnichiwa and Kano’s Made in the Manor – two Grime albums that documented the realities of the street and the true state of modern Britain. The fact Skepta won the Mercury Prize not only shows how far genres like Grime and Hip-Hop (British) are assimilating into the mainstream: it is good to see black artists being given such respect. It may seem strange but against the tide of racism and discrimination in the wider world: music’s cosmopolitan, arms-together sensibilities are being seen. Sure, there is still racism and some discrimination in music but less than current years. Beyoncé and Solange (Rhianna and Laura Mvula too) have shown just how strong and inspiring they are - two black musicians that have crafted sublime albums. Kano and Skepta have put black British music firmly in the public consciousness whilst Frank Ocean and Kanye West have unleashed some of this year’s best albums – I would say, in a typical top-ten list, 40-50% of the albums included are from black artists. The boys of mainstream music have done well but it is their female equivalents that are making biggest leaps. Aside from the bold and brilliant artists like Solange and Beyoncé: more considered, more nuanced artists like Jenny Hval, Angel Olsen and Julia Jacklin should not be ignored. Jacklin’s Don’t Let the Kids Win ranks as one of my favourite albums of this year and pairs wonderful, heart-melting vocals with deep and mature lyricism into an album that begs for multiple listens. In addition to Anohni’s debut album and an especially satisfying album from PJ Harvey (The Hope Six Demolition Project); I feel female artists have outstripped their male counterparts – in terms of quality, boldness and range.

Not only has it been the upbeat and defiant albums that have struck a chord: the more reflective, solemn and stately records have played their part in 2016. The fact the tastemakers have accrued their end-of-year polls to reflect an optimist, energetic and hopeful sensibility: we mustn’t downplay the importance of albums whose heart beats slower and soul sings louder. I have mentioned David Bowie’s Blackstar and Leonard Cohen’s You Want It Darker but there is a third one to be added to the list: Nick Cave and the Bad Seeds’ Skeleton Tree. Like Bowie and Cohen: Nick Cave is one of those stalwarts who has been creating fine music for decades. Like his British-Canadian brothers, the Australian’s latest album was affected by personal tragedy and death. Skeleton Tree, for the most part, was inspired by the death of (Cave’s) young son, Arthur – who fell from a cliff in a tragic accident whilst out playing. The teenager’s passing occurred at a time when Cave was conceiving and recording the album. That shocking news not only shook the songwriter but changed the course/sound of the new L.P. Take Skeleton Tree on face value and you are awed by its potency and beauty; the incredibly gripping and immersive vocals in addition to the detailed, dark songwriting. A stunning album hard to define and distill in few words: Skeleton Tree is not just one of 2016’s finest albums but one of the best from Nick Cave and the Bad Seeds. Not only have 2016’s experienced artists provided beautiful record but some brand-new artists are making their voices heard. Julia Jacklin, as explained, brought us the divine Don’t Let the Kids Win whilst our own Billie Marten, and my album of the year, gave us Writing of Blues and Yellows.

Vaults are another new group who defy expectations and worst instincts – a band that has their music used in a John Lewis Christmas campaign are usually written off – with Caught in Still Life. BBC has compiled their list of ones to watch next year – including Cabbage, Jorja Smith and The Amazons (photoed above). Whilst the BBC are not the most reliable divining rods for new artists: it should be treated with success and there are plenty of acts on their longlist who have the potential to make big noises in 2017. The abiding takeaway is that this year has seen upset and loss but is largely remembered for its extraordinary music and hopes for next year. The best albums of this year, as decided by the wise elders and collected voices, is a fine bunch whilst my ten best of 2016 – largely consistent with consensus – has a couple of outsiders in the high positions. I have not seen a year quite as exciting and memorable as 2016. So many wonderful albums and great new artists poking through. I always get depressed when, no huge offence to them, acts like Adele and Coldplay get awards and regarded as the best of the best. Even the least fussy and discriminating music connoisseurs would not include those two in the best of the year – to me, rather bland and mediocre. What this year has shown is tastes and changing as grittier, more realistic sounds are being proffered. Urban acts and street-wise prophets are finding leverage; bands that stray from the predictable and deliver something sharp and original; acts who are addressing the concerns of the people and turning away from avenues of love and self-obsession – tides are turning and there is a detectable rise in quality. Who knows what next year holds but we all hope for a smoother, less morbid year than the one just past. I am sure that will be true but I know music will continue to grow and burgeon. Those newly-tipped musicians will start laying down their debut albums and others will gain strength and focus from the acclaim they have received in 2016. I cannot wait to see how 2017 pans out and the artists who will shine and intrigue. No matter what, few can deny just how unusual and anomalistic 2016 has been. Against the sense of loss and displacement many have felt, music has played its role and shown just how…

PHOTO CREDIT: Jimmy King

MUCH beauty and wonder there is in the world.

TRACK REVIEW: The Federal Empire - Bad Habits

TRACK REVIEW:

 

The Federal Empire

 

 

Bad Habits

9.2/10

Bad Habits is available at:

https://soundcloud.com/thefederalempire/bad-habits

GENRES:

Pop; Alternative-Rock

ORIGIN:

Los Angeles, U.S.A.

The E.P., The American Dream, is available at:

https://soundcloud.com/thefederalempire/sets/the_american_dream_ep

RELEASED:

October 2016

________________________

BECAUSE I will not be assessing too many bands before the end of…

this year; it is worth concentering on one that is already making people listen and stand to attention. I have mentioned all the great bands coming out of London: L.A. is also another area that is producing some rather excellent acts. Before I come to the band in question, I want to return to L.A. music and who will be making it big in 2017; the bands who, in America especially, will be attuning to a new way of life given Trump’s presidency and the reason why we should all pay closer attention to the best groups coming through. That initial point – L.A. musicians and their merits – is something I have been extolling most of this year. You do not need to know your music to know how many great groups have come from Los Angeles. The same could be said of New York and London: Los Angeles is one of the most important and relevant areas of music in history. Not to mention the likes of Metallica, Red Hot Chili Peppers and Rage Against the Machine; newer bands like Warpaint and icons such as The Doors and Gun N’ Roses – hardly slacking when it comes to producing fantastic offspring. I feel a lot of us here (the U.K.) only really hear about L.A. music through radio and the media. It seems, like many people out there, we are not that adventurous and do not really make a concerted effort to seek bands out. I, as part of my job, keep my eyes peeled and always keen to see which bands/acts are being talked about in the U.S. New York is, perhaps, better when it comes to solo artists and genres like Rap and Hip-Hop: L.A. seems peerless when considering harder genres like Rock and Alternative – a few of the names I have listed are testament to that. This year, the likes of Los Angeles Police Department – who released their eponymous debut E.P. in 2014 – have been developing and building on their early success. Bones, and his unique gothic raps, have been intriguing critics and showing just what he is made of. Throw in Death Valley Girls and you have an all-terrain-ready assault of Punk, fuzz and rebellion. They are a unit that has been making marks – one suspects to stages across the U.S. – this year and will be looking to build on that in 2017.

MRK is one of the most individual and unique artists you will find in the U.S. – these tips have come from L.A. Weekly. She has been compared with Kate Bush but has elements of stripped-down Pop and digital facets to her music – not to mention videos like River of Blood certainly stick in the mind. Powers are a suave, cool and sensual duo that have written for mainstream giants like Kylie Minogue but are not neglecting their own material: ensuring they are slinky, sexy and hot as Hell. That is really an overview of the L.A. artists who have been impressing critics this year. Of course, there are many more and we should all be more wary of the talent that is out there. If we look ahead and there is a big opportunity for L.A. musicians to strike and effect. There have not been too many (if any) polls conducted this year recommending the Los Angeles musicians worth investigating next year – the same goes with London and a certain lack of foresight from the media. If you are looking for a band relevant and urgent, you cannot go far wrong with The Federal Empire. Chad Wolf, Keith Varon and McKay Stevens complete the trio and have just released (in October) their E.P. It seems like a very apt and ironic title given the political unfolding in the U.S. – I will come to that a bit later. The boys have been performing for a while but seem, now, at their most solid and extraordinary. The E.P., I shall pick apart later in this review, has been amazing fans and getting new ears pointing in their direction. It is all encouraging and, before I come to some good points, want to urge the lads to get their websites sorted out. This is a point I labour and exhaust beyond words but feel The Federal Empire would benefit more biography and insight.

Their official website points to their social media/music-sharing sites but gives scant detail about who they are and where they came from; the kind of acts that inspired them and their views on Trump. Of course, social media helps a bit (and they update regularly) but too many artists are neglecting their biography and forcing the listener to guess and fill in blanks. That is okay to an extent – and it is good letting the music take focus –but it would make bands like The Federal Empire more fleshed-out and appealing were we to know more of them; have a few interviews laid out there and glean more about the fellas. No matter because there are bigger nuts to crack. I opened by saying I’d look at L.A. bands making it big in 2017 and The Federal Empire can be added to that list. The tastemakers have been a little slow off the blocks this year and I am sure, in the next few weeks, the first polls and lists unveiled. I am excited to see who will be included and whether they (the lists) will be band or solo-heavy. In the past, L.A. was celebrated because of its solo acts and what they produce: I feel bands are becoming more relevant and vital in the current landscape. Although The Federal Empire are not, strictly speaking, a political band: they are performing in a time where there is a lot of anger and confusion wafting around America. In fact, looking at their E.P. track Never Saw It Coming: that song title could be written about the election result and what is happening in America now. L.A. is, as I showed with a few of the classic acts, synonymous with its Rock bands and those who address societal issues. Rage Against the Machine are one of the most political and an act you wouldn’t bet against mounting a revival and getting back out there – I know Tom Morello and Zack de la Rocha will not be sitting idly and accepting what is happening in The White House. My general point is the fact bands are going to become more important and motivated in 2017 America. Were Hilary Clinton elected then there would be calmer people; I feel there’d be fewer protest songs and disgruntled musicians. As it stands, there is a large faction of pissed off musicians that are shell-shocked and angry. The tone of music will change and there is going to be a lot of frustration channelled into songs. The Federal Empire, on their latest E.P., look more at personal issues and friends; relationships and the sort of subjects most artists document. I imagine, if another E.P. were to arrive next year, it might be more focused on how the country is changing and addressing the imbalance and insanity.

PHOTO CREDIT: @bttags

It is still hard to believe how the election played out but there must be a reason (other than stupidity) people voted for Trump – maybe those who voted for him wanted someone straight-talking and confident? It is going to be interesting seeing how Trump and musicians transition in the next few months and what happens. Being Democrat territory; L.A. must be especially unctuous and aghast the result. The Federal Empire’s music sounds more urgent and compelling given the unfolding events and I suspect the band will be looking to incorporate more political themes into their music next year. We should be looking at bands next year as I feel they are going to be the most relevant type of musician playing. Solo artists will be creating sensational music but I feel, given general malaise and unrest, it is groups that will be striking hardest. It is going to be exciting seeing how The Federal Empire develop and just what they can come up with next. I know the trio takes great pride in The American Dream (as they should) but its title takes on a new, rather ironic twist given the recent happenings. Next year will be busy for them and they are going to capitalise on their momentum and support. If previous years have seen celebration and acclaim provided to solo artists – that is going to change now I feel. The Federal Empire, with their name alone, strike you as a unit and political party: a rebel alliance that has the potential to galvanise and unify people and inspire others. The American Dream is a wonderful start and an E.P. that shows just what an emphatic and impressive force they are.

It is hard to compare The American Dream with anything else as this is the first offering from the L.A. trio. The E.P. is stunning and packed with plenty of energy and huge vocals; some more refined Pop moments and hypnotic tracks. The guys have created a buzz over the last two months and the E.P.’s lead-off single, I Never Liked Your Friends, reached number eight on Hype Machine’s trending list – the E.P.’s title track was added to Spotify’s New Music Friday playlist. L.A. sources like All Things Go, Ones to Watch and The Daily Listening have lauded the band and the guys have been playing some of the finest venues around the city – touring with Dandy Warhols and Lindsey Stirling. Whilst it is hard comparing their material one can get a sense of where they have come from and where they are going. The guys formed after a publisher requested their write songs for acts like The Chainsmokers and David Guetta. It was only after a couple of tracks were penned the boys realised the chemistry and bond were impossible to ignore. This realisation has led to a band that provides classic Americana songwriting with Electronic strands and the sort of gang vocals that are much-needed and desired in the modern landscape. The guys will be vibing off the acclaim they have received and the respect they have accrued from local media. Into 2017, they will look at recording new material and getting more out there; expanding on what they have already done and making a bigger name for themselves.

PHOTO CREDIT: @bttags

I wanted to focus on Bad Habits not just because of its title – that gets me thinking of The Last Shadow Puppets – but where it sits in the E.P. line-up. The opening track is the excitement of new love with a bit of an unpredictable twist. The girl comes along and turns the hero’s heart upside-down. That bond and passion are huge and you get a tangible feeling or lovers that could be bonded for ages. The third track sees the heroine (whether the same one) castigated and sleeping with another man; at her friends’ place and self-destructing – a group of friends that have been a bad influence and very unwise in their attitudes and decisions. In a way, Bad Habits is an explanation and insight into the downfall; the black box that explains how things manage to change from perfect to horrific. It is a vital track that not only transforms the direction and attitudes of the E.P. but is the strongest cut from the set. The song, rather than blame the heroine or investigate her follies, looks at the heroes and his ‘quirks’. The track opens with island-vibe and sunny strings; there's a definite rush and a typical serotonin burst from the L.A. faction. The guys bring the track up and expend enough energy in the introduction so the listener is enticed in and gets some chance for guessing. When the lyrics do arrive, there are some rather colourful and standout images. Our guy is a chain-smoking, tattoo-heavy chap that chases the curvaceous and satisfying. Among that sybaritic rider is cigarettes and poker; late nights and a party lifestyle. In a way, hearing the track unfold, reassess my views of the follow-on track and the title slice for that reason. The American Dream looks at figures who embrace the cheap and shallow way of life: the band deliver it in such a way that suggest that is the face of America and something that should be purged. The fact the hero seems to fit into this mould (a little) makes you wonder about the sincerity and angle of the song – whether it (the title song) is an attack on those types of a confession that many people fall into that way of living naturally.

Again, I look at the third track and the fall-out – where the heroine is staying at friends and sleeping about a bit. It might not be surprising she fell for the guy (given the similarities and the allure of someone a bit rebellious and rough around the edges) but she has immersed herself in that life and embraced all its heady and dangerous sides. Getting back to the song and you are struck by this new-found truth and look at the song differently. In a sense, the hero should be blamed a little as he seems to have led the girl astray and caused a lot of the issues. This is something he admits to an extent – the line “That I’m one (bad habit)…no good for you” – seems to be his disclaimer and way of distancing himself from responsibility. The song, in a way, is something that could have been set in the time of James Dean and the leather-clad film idols. Acting like a companion piece to Lana Del Rey’s Born to Die and Honeymoon albums – where Lizzie Grant fell for tattooed hunks and revelled in the top-down, trousers-down sweat of the open road – and casts its mind around the ‘50s and ‘60s. If The Federal Empire do not have the lush orchestration and smoky vocals of Lana Del Rey: their music is more focused, modern and masculine. There is a laddishness to the song, especially when the vocals unite and practically shout, and one can hear a bit of Imagine Dragons in that sense. The song has a split of emotions and dynamics which appeals to different parts of the body. The lyrics and confessions beg for a more regretful and contemplative delivery but what we get is something unapologetic, defiant and drunken.

It is a song that has a certain shallowness but it is intended as honesty and openness. The hero knows he is not perfect but he fits into that idea of The American Dream: the pursuit of the cheap and accessible; surrendering to an inevitable decline. You sort of sympathise with the lead and the fact he is just a product of the American system – a Californian ‘ideal’ that many subscribe to. At every stage, the spirit is there and there is no letup in the West Coast hoe-down. Our hero sees the girl look at him and wonders if she’s lying to herself. He knows he is a bad habit (a strange addiction) but she is tempted to that for a reason. There is a psychology at play and it is not as simple as sexual attraction and escapism. Why would a girl, who, at this point, is undefined and seems pure, be swayed by someone who has a Devil nagging on his shoulder? Not only does it provide tantalising backstory but explains some of the actions and results that occur later in the E.P. Bad Habits is a resounded success from the band and song impossible to dislike. Yeah, it deals with a central figure who has fewer good points than bad but he is admitting that. He is, as it goes in the song, human and we all have these proclivities and addictions. Few will walk away feeling any guilt or dislike for the hero: you are left satisfied and recruited into The Federal Empire and more than happy to dedicate yourself to their mission – one that involves losing yourself once in a while and having fun.

Before concluding things, and going into a bit more depth of the E.P.’s remaining tracks, it is worth going back to my original points and looking at the boys’ future. The Federal Empire released their debut E.P. in October at a time when the U.S. was uncertain and very fearful. Although they are not directly concerned with political messages and the type of band that write about that sort of thing: no musician in the country could ignore what was happening and how their nation was changing. That transformation will become more defined and alarm into 2017 and will motivate many artists to say something about it. Never has there been such a feeling of disgust and unrest in the U.S. (not for a while at least) and I expect music to become a lot sharper and more urgent next year. I stated how solo artists have been grabbing headlines and the most attention. That will shift and I cannot wait to see the bands that will emerge strong very shortly. The Federal Empire sit in a city (at a time) where there is a great opportunity to make impressions and big strides. There are very few bands in the mainstream I have been impressed by and stand in the memory for too long – the solo acts have made the biggest impact in 2016. It is going to be interesting discovering the bands making waves and I know The Federal Empire will be among them. Los Angeles is that epicentre of history, culture and musical excellence: a place that has seen some of music’s true titans grow and conquer. I looked at some of the Rock acts that call L.A. home but there is enough variation and range to satisfy any musical taste. L.A. is a fascinating area and a natural Mecca for musicians. I have been bowled over by the sheer confidence and talent of the artists playing out of the city. The band, by comparison, have been a little quiet but I am starting to hear changes and seeing that shift occur. Groups, whether trios, quartets or larger, have always been relevant and we should not assume solo artists are the biggest draw in music. Even if acts like Beyoncé have been topping end-of-year lists and getting critics hot: the next year is going to see many more bands rise and create stunning albums.

If The Federal Empire can get their social media sorted out a bit – I only learned about their past through their P.R./management – then more fans would be enticed and it would provide much more scope and clarity. As things stand, the guys are making their music do the talking and a good job of it too. I am not suggesting they overhaul everything and redesign their websites: in a modern, competitive age, there is no real excuse for being a little slack in these areas. The guys are striking hot and they should be added to the list of ones to watch in 2017. Whether we will see a paradigm shift and huge revolution in music I am not sure. I hope artists around the world do not get caught up in petulance and anger and focus those emotions into something more creative and inspiring. Out of the horror and disappointment of the U.S. election result, here is a time where musicians can speak louder and become more relevant than ever before. I know there will be a lot of people trying to erase the memories of 2016 but we can learn a lot and take heart from it. In musical terms, this year has been fantastic and a lot of future stars are starting to make their move. I love The Federal Empire and the way they work. Their story and creation is natural and charming: the guys have that affection for one another and that comes through in their music clearly. I hope the boys get over to Europe and come and play the U.K. very soon. I know there will be a lot of attention and respect for them over here. I have seen a few U.S. bands come over here in 2016 – city-mates The Vim Dicta had a long residency over here – and I can imagine The Federal Empire afforded the same hospitality and affection. I know London will produce a kind and opportunistic house: lots of venues waiting for them and a city similar to L.A. in terms of variegation, talent and energy.

Never Saw It Coming opens with spirit and hand-claps; light strings and an overall bounce and uplift. The hero sings about being lost and in a place that was confusing and rather strange. Perhaps it was a predictable and safe life but one that was lacking that spark and excitement. Soon enough, a girl came along and changed all that. Turning life upside down; there is that inexplicable and invisible force that gets into the heart and makes life so much better. Although the song does not address new themes or provide too much originality; it is the way the guys write the song and deliver their words that make the song so impressive. They do not overwhelm the song with electronics and processed sounds – everything is very natural and honest. The song looks at the heroine as an addiction and sugar. She is sweet and hot; she’s alluring and deceptive – captivating the mind and intoxicating the senses. Our hero never saw things coming and could not predict life would work out like it has. The guys write a song that has charm and plenty of energy coming in. The chorus brings more force and verve in; the vocals chant and the composition throws colours and flavours together. It is a song that contains nuance, in spite of its urgency and simplicity, and a song you will come back to for a sense of release and encouragement. Its spirit lacks cynicism and is perfectly attuned to the desires of 2016 – a song that puts a smile on the face. Similarly, I Never Liked Your Friends makes you grin but for a different reason. “I wished you well/even though you’re sleeping with somebody else” is a sentiment that could have been delivered with spite and sarcasm. The band almost delivers it tongue-in-cheek and matter-of-fact. The track looks at regrets and the heroine making mistakes. You can see The American Dream as a concept album on love, honesty and relationships. If songs like Never Saw It Coming is the prelude and first chapter; the moment it all clicks and the romance blooms – this is the time when cracks are showing and deception reigns. At every stage, the song remains dignified and strong: the composition has that fizzing, vibrant and non-stop movement.

The girl is keeping bad company and hanging around people (the hero) was wary of and not happy about. She is strung-out and falling; she is down the bottom of a hole and there is no way out. I am not sure what caused the infidelity and relationship break-up – one suspects a differing worldview and too many arguments – but there seems to be little resentment and blame. The hero is concerned about his former love and seeing the place she is in right now. The anger and accusation are aimed at friends and not the heroine. Perhaps they are the ones who have been pulling the strings and showing very little conscience. The sheer vitality and explosion one feels during the chorus – with those gang vocals  and huge weight – is tremendous. The boys never cheapen things by throwing it all into the mix and hoping something sticks; they do not bring down the mood but still deliver an important message. You know they have written for some of Pop’s best names and you can hear that commercial edge and radio-friendly flair. Usually I am not too enamoured of chart-ready music and the sort of songs that are designed for a particular demographic – predominantly teens and those who do not really know quality music. The Federal Empire are a lot more credible and strong and transcend easy criticism with their infectiousness, songwriting quality and consistency. Skilled writers who know how to deliver a song and get people singing: The American Dream is rife with bangers and tracks that get the body moving. In spite of the acid and vivid scenes that unfold throughout I Never Liked Your Friends; you remember it for its catchiness and deliriousness in addition to the earnestness of the performances. The title track has already gained a lot of respect and it is not hard seeing why. It is the most original song and one that gives new light to the E.P. title. The American Dream, as seen here, has a teenage edge and a certain sloth-like attitude.

PHOTO CREDIT: @bttags

Smoking weed in a “Netflix nation” (almost the kind of line Green Day would deliver) there is a mixture of apathy and commentary. The burger-eating, supersized person; the type that yearns for apple pie, fast food and faster pleasures – being given a certain undressing thorough. The message of the song seems to be this: people want what they want and not what they need. The song’s hero, whether the frontman or a visualisation of a typical American, just wants fast cars and mansions; they want to get head, go to bed and party until the small hours. It seems, given the Republican movement, that way of life has transferred into government. Trump seems like the type who would recommend and patronise that sort of immaturity and recklessness – presuming the party-goers were white and not of Mexican origin! The song, like all the rest on the E.P., has a rousing coda and infectious chorus; the boys come together and give it stomp and spit. The lyrics are enticing and interesting as there is that judgmental edge but you wonder whether they (or their peers) embrace this lifestyle without irony. It is a song that gets you thinking but stick in the memory too.

Those L.A.-like dream ideals – shallow girls and the kind of poser that should be eradicated from the landscape – paints a picture of America – one that has been proffered by musicians, artists and tourist boards for decades. The reality of Los Angeles, and America too is somewhere more dignified, substantial and intelligent. The Federal Empire leave some doubts – how much of this way of life do they take in and ignore – which is a perfect way to end things. The entire E.P. seems to breeze by and you are longing for more at the very end. Each of the four songs gets right into the mind and impresses with its solid songwriter and variation of themes. I keep playing the songs and caught by the energy and passion the band throws in every second. Not just another Pop/Rock band who are aimed at the charts with little in the way of grit and credibility – the guys are a strong and hungry band that have the authority and sound to mix it with the best bands coming through right now. Make sure you check the E.P. out and discover music that not only gives us a glimpse into 2017 but…

LIFTS the mood and appeals to all of the senses.

[soundcloud url="https://api.soundcloud.com/tracks/286665944" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

___________________

Follow The Federal Empire

 

Official:

http://www.thefederalempire.com/

Facebook:

https://www.facebook.com/thefederalempire

Twitter:

https://twitter.com/FederalEmpire

Instagram:

https://www.instagram.com/thefederalempire/

SoundCloud:

https://soundcloud.com/thefederalempire

YouTube:

https://www.youtube.com/channel/UCpAQkhzFi0CpjKUkHVjN6CA

FEATURE: The December Playlist: New Songs and Christmas Classics

FEATURE:

 

The December Playlist: New Songs and Christmas Classics

______________________

GIVEN the fact it is a week or so until the big day…

I felt obliged to throw a selection of Christmas classics into the list. There is some cheese and crackers; some real gifts and some rather unwanted pair of socks. Among the bulk-load of Christmas ‘cheer’ there are some typically reliable downbeat and introspective track from the finest current music has to offer. That is not fair: there are plenty of rousing and spirited tracks among the pile. Among videos from Elbow and Bastille are songs from Years and Years and Crystal Fighters. Take some time to sift through the new music collection and take a dip into the Christmas honeypot. If you get fatigued, save it for another day and rejoice. At any rate; plenty to keep everyone amused until the big day – when I’m sure we won’t hear any more Christmas songs again!

__________________

Bastille – Blame

[youtube https://www.youtube.com/watch?v=Iys9IHmDJ1w&w=560&h=315]

Vanessa Forero - A Song for Christmas

[youtube https://www.youtube.com/watch?v=A4PvD7-Kzu4&w=560&h=315]

SIIGHTS – At Christmas

[soundcloud url="https://api.soundcloud.com/tracks/298264467" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Surfer Blood – Matter of Time

[youtube https://www.youtube.com/watch?v=Om8TAKK6ai8&w=560&h=315]

PHOTO CREDIT: Paul Husband

Elbow – Magnificent (She Says)

[youtube https://www.youtube.com/watch?v=XQl5KYiiFDI&w=560&h=315]

The Melvins – Carol of the Bells

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PHOTO CREDIT: Greer Aylece Robinson

Talmont - Reach Out, I'll Be There (The Four Tops Cover) | Ont' Sofa Live at The Crypt Studios

[youtube https://www.youtube.com/watch?v=RzlrKgM1FD0&w=560&h=315]

The Flaming Lips – Sunrise (Eyes of the Young)

https://play.spotify.com/track/0zTMl6R69rqE8bvYT3RclL

Slaves – Hypnotised

[youtube https://www.youtube.com/watch?v=jEoQSDFRK8g&w=560&h=315]

PHOTO CREDIT: Katia Temkin

Maggie Rogers – Dog Years

[youtube https://www.youtube.com/watch?v=NgWC5oEuyjU&w=560&h=315]

Raleigh Ritchie – Sicko

[youtube https://www.youtube.com/watch?v=W-PYIr07DFc&w=560&h=315]

Lola Coca – Xmas Day 

https://play.spotify.com/track/0mDKUJzEL0Px7wJtzg5esu

Artificial Pleasure - I'll Make It Worth Your While

[youtube https://www.youtube.com/watch?v=D9oJL295r90&w=560&h=315]

J. Cole – Everybody Dies

[youtube https://www.youtube.com/watch?v=-5slZHLSnow&w=560&h=315]

Kylie - At Christmas

[youtube https://www.youtube.com/watch?v=8py8uqnYunI&w=560&h=315]

Gregory Porter - Don’t Lose Your Steam (Magic Radio Presents…)

[youtube https://www.youtube.com/watch?v=jyhaUYjYS9M&w=560&h=315]

De La Soul (ft. Estelle and Pete Rock) – Memory of…(Us)

[youtube https://www.youtube.com/watch?v=pFTNjzzeU-8&w=560&h=315]

Kacey Musgraves - Christmas Makes Me Cry

[youtube https://www.youtube.com/watch?v=wwhP9jZWTR8&w=560&h=315]

Gulp – Search for Your Love

[youtube https://www.youtube.com/watch?v=Rxw5D6vCqZo&w=560&h=315]

Banks and Steelz (ft. Florence Welch) – Wild Season

[youtube https://www.youtube.com/watch?v=9G1xvLveMCs&w=560&h=315]

She & Him – Christmas Memories

[youtube https://www.youtube.com/watch?v=FbOvwX9WtI8&w=560&h=315]

Connie Constance (ft. Jelani Blackman) - Clouds

[youtube https://www.youtube.com/watch?v=e-I78r65tbc&w=560&h=315]

Terry Wogan – The Floral Dance

[youtube https://www.youtube.com/watch?v=T3Y4HufJ1oE&w=560&h=315]

Frank Turner - Get Better (Lyric Video)

[youtube https://www.youtube.com/watch?v=tB4Avdlz3lk&w=560&h=315]

Sting – One Fine Day

[youtube https://www.youtube.com/watch?v=O1V1hiKGs74&w=560&h=315]

Best Coast – Christmas and Everyday

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Catfish and the Bottlemen – Outside (From Castleford Bowl)

[youtube https://www.youtube.com/watch?v=wdFE7nUBApM&w=560&h=315]

Una Healy – The Waiting Game

[youtube https://www.youtube.com/watch?v=qZWXqN9IpeU&w=560&h=315]

Rag ‘N’ Bone Man – Human

[youtube https://www.youtube.com/watch?v=L3wKzyIN1yk&w=560&h=315]

Metronomy – Hang Me Out to Dry

[youtube https://www.youtube.com/watch?v=XaUzHtaysbc&w=560&h=315]

Crystal Fighters – Good Girls

[youtube https://www.youtube.com/watch?v=-qb8V-PVD3A&w=560&h=315]

Low - Some Hearts (at Christmas Time)

[youtube https://www.youtube.com/watch?v=hv_XqW005-w&w=560&h=315]

Proclaimers Christmas Collective – Dance Tonight (It’s Christmas)

[youtube https://www.youtube.com/watch?v=uTJDyCxl0qM&w=560&h=315]

NERVO & Askery (ft. Brielle Von Hugel) - ALONE (Mesto Remix)

[youtube https://www.youtube.com/watch?v=kw__tdFZHZM&w=560&h=315]

The London Hospices Choir and Paul Carrack – The Living Years

[youtube https://www.youtube.com/watch?v=XBLgZikvM3U&w=560&h=315]

Justin Timberlake and Anna Kendrick – True Colours

[youtube https://www.youtube.com/watch?v=la0-5QFLr14&w=560&h=315]

Friends of Jo Cox – You Can’t Always Get What You Want

[youtube https://www.youtube.com/watch?v=PvF2llqLzxA&w=560&h=315]

Galantis – Pillow Fight

[youtube https://www.youtube.com/watch?v=dr_SpQEGR4s&w=560&h=315]

James ‘Shinny’ Davenport – Christmas Number 1

[youtube https://www.youtube.com/watch?v=cZjpeuMjo1M&w=560&h=315]

Nathan Sykes - Have Yourself a Merry Little Christmas

[youtube https://www.youtube.com/watch?v=Tpiie-9xiiM&w=560&h=315]

Little Simz (ft. Tilla) – Poison Ivy

[youtube https://www.youtube.com/watch?v=GnCCLVlZ4RI&w=560&h=315]

Matt Redman (ft. Natasha Bedingfield) - Help from Heaven

[youtube https://www.youtube.com/watch?v=guyWNLTvOy4&w=560&h=315]

Sinead Harnett – Rather Be With You

[youtube https://www.youtube.com/watch?v=8h_9fsGku3c&w=560&h=315]

Years and Years – Both Sides Now

[youtube https://www.youtube.com/watch?v=sLry08EREoY&w=560&h=315]

Lucy Rose – Merry Christmas Everyone (Live at Maida Vale)

https://play.spotify.com/track/6jGuL4oTOw23yDzC58HRbw

Kate Tempest – Ketamine for Breakfast

[youtube https://www.youtube.com/watch?v=ym3iGD7uNn8&w=560&h=315]

Bon Iver – 666 ʇ

[youtube https://www.youtube.com/watch?v=96t0rlPmn2E&w=560&h=315]

Car Seat Headrest – Vincent

[youtube https://www.youtube.com/watch?v=bEsItsZphwQ&w=560&h=315]

Radiohead (ft. CR78) – Present Tense

[youtube https://www.youtube.com/watch?v=6hgVihWjK2c&w=560&h=315]

Thee Oh Sees – The Axis

[youtube https://www.youtube.com/watch?v=W-Ac65av5t4&w=560&h=315]

Slade – Merry Christmas Everybody

[youtube https://www.youtube.com/watch?v=CI7gflX3J2k&w=560&h=315]

Wizard – I Wish It Could Be Christmas Everyday

[youtube https://www.youtube.com/watch?v=IM_H4CAAYxc&w=560&h=315]

The Ramones - Merry Christmas (I Don't Want To Fight Tonight)

[youtube https://www.youtube.com/watch?v=4Y5GtaTrPHM&w=560&h=315]

Destiny's Child - 8 Days of Christmas

[youtube https://www.youtube.com/watch?v=7tt6Ot_WEHI&w=560&h=315]

Mariah Carey - All I Want for Christmas Is You

[youtube https://www.youtube.com/watch?v=yXQViqx6GMY&w=560&h=315]

Chris Rea - Driving Home for Christmas

[youtube https://www.youtube.com/watch?v=EvDxSW8mzvU&w=560&h=315]

Bing Crosby – White Christmas

[youtube https://www.youtube.com/watch?v=GJSUT8Inl14&w=560&h=315]

Wham! – Last Christmas

[youtube https://www.youtube.com/watch?v=E8gmARGvPlI&w=560&h=315]

Cocteau Twins - Frosty the Snowman

[youtube https://www.youtube.com/watch?v=e874vKfYfuU&w=560&h=315]

Joni Mitchell – River

[youtube https://www.youtube.com/watch?v=nAK9Pj5-QXY&w=560&h=315]

The Ronettes - Sleigh Ride

[youtube https://www.youtube.com/watch?v=Y6rDA2Czz0E&w=560&h=315]

Bing Crosby and David Bowie - The Little Drummer Boy/Peace on Earth

[youtube https://www.youtube.com/watch?v=DiXjbI3kRus&w=560&h=315]

Louis Armstrong - Christmas in New Orleans

[youtube https://www.youtube.com/watch?v=OVFEadOKBYE&w=560&h=315]

Aled Jones- Walking in the Air

[youtube https://www.youtube.com/watch?v=Aktgc7Irs8g&w=560&h=315]

John Lennon & Yoko Ono - Happy Xmas (War is Over)

[youtube https://www.youtube.com/watch?v=Etbucgvjhwo&w=560&h=315]

Kings College Choir - Silent Night

[youtube https://www.youtube.com/watch?v=n036kBC1HEw&w=560&h=315]

Paul McCartney - Wonderful Christmas Time

[youtube https://www.youtube.com/watch?v=V9BZDpni56Y&w=560&h=315]

Band Aid - Do They Know It's Christmas (1984)

[youtube https://www.youtube.com/watch?v=WesKXdaWBq0&w=560&h=315]

Jackson 5 - Santa Claus Is Comin' to Town

[youtube https://www.youtube.com/watch?v=gmUW2pVAopc&w=560&h=315]

Andy Williams - It's the Most Wonderful Time of the Year

[youtube https://www.youtube.com/watch?v=gFtb3EtjEic&w=560&h=315]

Elvis Presley - Blue Christmas

[youtube https://www.youtube.com/watch?v=5I2f1UJjiAA&w=560&h=315]

The Pogues (ft. Kirsty MacColl) - Fairytale of New York

[youtube https://www.youtube.com/watch?v=j9jbdgZidu8&w=560&h=315]

 

All in all, you’ll agree there is quite a stocking’s worth of delight there – I’ll drop the Christmas analogies. The next week will see a few tracks released but not too many new singles. I will probably collate a collection of songs I feel will be important in 2017: that or current songs from bands, both mainstream and unsigned, I feel will be doing exceptional things. Who knows what will be contained within but it is something you will want to see. That will come before the New Year, but, until then, have a good Christmas!

TRACK REVIEW: The Old Pink House - Black Hole

TRACK REVIEW:

 

The Old Pink House

 

 

Black Hole

9.3/10

Black Hole is available at:

https://soundcloud.com/the-old-pink-house/black-hole

RELEASED: 3^rd December, 2016

GENRES: Cosmic-Pop

ORIGIN:

Newcastle, U.K.

________________________

MANY may have noted how I have somewhat…

bemoaned a lack of credible and attractive bands emerging this year. That is not to say the band market is bereft of quality and potential – that would be a foolish suggestion. I am just saying, when compared with solo artists, there are fewer genuine groups and those that stand out. Maybe that will all change next year but I have therorised why this is. There is that focus on talent and artists that are more concerned addressing social issues and more urgent themes. Bands, by and large, are more focused on other themes (relationships and personal issues) but still hold the majority share of the festival circuit. That, the band dollar, is always the most bankable and long-lasting – I feel when the festivals crank back up there will be more focus on them and a push away from solo acts. Maybe not but who can ever predict what will happen in music? Before I come to my featured artists, I wanted to look at northern bands (The Old Pink House are from Newcastle) and the importance of local gigs; how hard it is for bands to get under the lens of a manger and get promoted; a bit about influences and how new bands can survive longer. It is nearly Christmas time which means a lot of people are overwhelmed by ‘classic’ Christmas songs and general mush. There is less time spent on new music: many are waiting to see what next year brings and have already had their fill of new music. Before we get there, it would be remiss not looking at artists who are still playing and campaigning around the nation. The last few months have seen my settled around London and not really straying too far beyond that. It is good to be back up in the north: once the ancestral home of the most influential and awesome bands.

I know Manchester and Liverpool get the most press – with regards northern exposure – but we should not overlook areas like Newcastle. Looking at the ‘historical’; or established artists from Newcastle; there is plenty of variation and quality. Maximo Park, The Animals and Dubstar are just a few acts that call Newcastle home – you could not put a line through these acts and have it make sense. Looking at nearby Sunderland – I will probably get stick for daring to name Newcastle’s local rivals – but The Futureheads, Kenickie and Field Music have put the city of the map. Newcastle’s well-heeled and celebrated acts are, in most cases, years down the line and not really as fresh as one would hope. This is all going to change. Over the last few months or so; a few new bands have shown their wares and are impressing critics around the nation. Street Party in Soho – I am reading from http://www.gigwise.com/photos/106343/best-new-newcastle-bands-and-artists-2016---punk-indie-garage - are impressing with their sunshine blends and ethereal promise. The guys turn everyday situations and concerns into anthems and beautiful things. There is not the tendency to go for morbid and depress with a lack of energy: everything the trio touches is instilled with some sense of uplift and energy. SoShe mix grooves and beats and have garnered comparisons with London Grammar. Mouses are a duo I am well aware of and have been linked with The White Stripes. To be fair, they are a bit more straight-forward and simplistic than the Detroit duo. The Newcastle twosome have that festival-ready sound and already being tipped as breakaway stars for 2017. Post-Punk magic from Kobadelta is also not surprising. I reviewed the guys way back and was hooked by their fantastic, rings-in-the-ears magic. There is plenty of anger and aggression but it never boils over – always imbued with control, nuance and intelligence. In terms of young bands: they do not come much tenderer than Far Pacific. All teenagers (most of the members are sixteen or seventeen) the boys know how to put on a show and already crafted a set of lovable and indelible tracks. Deep.Sleep are also young and new but have that charm and rebellious streak that is impossible to overlook. That is just a collection of Newcastle bands that are already making a mark. It is fair to say the city is not exactly dormant when it comes to music.

It is not worth mentioning how fervent and fertile London is when it comes to new bands. Although the capital is, like most of the country, putting its solo artists further forward, there are plenty of new groups unwilling to play second-fiddle. That is the same with Newcastle. There are some great solo artists around the city but there is, as we have seen, more than a few epic bands that have all the components needed for success. The Old Pink House – in addition to that fantastic name – are more than capable of rubbing shoulders with the Geordie best. They are getting under the radar and looking to become more exposed and known in 2017. The way they are doing this (and gathering momentum) is by pounding the local scene. Whether embracing the toilet circuit or supporting better-known artists: the hungry boys have supported Let’s Eat Grandma and are being noted for their tight sets and engaging personalities. Although Black Hole (whether it should be capitalised I am not sure) is their second effort: there is no reason the guys will not be making more music in the coming months. Many bands – and solo artists too – are looking ahead right away to the big festivals and gaining the ear of B.B.C. I have seen some great London bands rely on the local venues in order to gain a foothold. Artists should not be jumping right for the big leagues and understand the necessity of gaining a live reputation. Getting your local peeps on board not only ensures you have a solid core but means you will always have gigs and demand. There are so few towns/cities with a great music scene: if there is one, keep hold of that and do not underestimate that. Even if your town/city has only a few venues: it is important getting as many dates booked and pounding hard as possible. I understand the excitement of dreaming and thinking what can be – that should not come at the expense of local gigs. The Old Pink House are benefitting from the great spots around Newcastle and pulling the punters in. It may be their earliest days but they are already making strides and showing they have what it takes to cut their teeth further south. If they manage to secure some gigs in own locations (Manchester, Leeds and London for example) that will do them a lot of good. I am pleased The Old Pink House are hitting the local circuit and making sure Newcastle knows their name. The likes of Mouses have got into the minds of mainstream press by doing just that: starting local and watching their music spread; tongues wagging over social media and everything sort of happening after that.

Before I come to the new single from The Old Pink House, I wanted to talk about the importance of management – how hard it can be securing a deal. This point was provoked by a recent conversation with Saints Patience guitarist, Spencer. Chatting with him, he explained that, although the band’s debut album was coming along nicely, getting gigs was proving challenging. Not because they lacked energy and the motivation: they had it in spades but were not getting any calls. In addition to dealing with all the recording/production side of things; the band are having to secure a lot of gigs themselves and becoming restless. It is a tragedy seeing a talented young band, full of vigour and potential, being denied opportunities to perform. Being based in London (or near enough), the guys are in the perfect spot to get those gigs – it is a lack of management that is causing such anxiety. Of course, it is great having P.R. bodies behind you getting those dates but it needs a one-man/woman army making calls and getting out there. The Old Pink House are doing well in Newcastle but will be looking at performing across the U.K. and Europe. If they had a manager calling venues and hooking the band up; it would not only provide The Old Pink House more gig experience but mean they were pulling in more money and spreading their music far and wide. I am not sure what is on the boys’ minds but I am sure they would love to perform across London and further south; get their music spun on ‘6 Music and get some notable support slots. That comes through hard work and great music but making sure the music is being pushed firmly. Of course, the band is promoting themselves but would benefit from a dedicated body campaigning and electioneering on their behalf. Their music, from one song alone, suggests there are fans waiting to find them. Maybe it is hard putting managers together with musicians. How many of them are out there and is it expensive/feasible having one? Maybe commissions – and giving a large slice to a manager – is putting people off or perhaps it assumed artists take care of all their own P.R. I would suggest the boys go hunting for a manager in the future: expand their arsenal and ensure their (terrific) music makes it far across the airwaves. That might be a future consideration but something to chew over. As I said, speaking with a musician looking for gigs and support: it can be frustrating not getting gigs and having to struggle for attention. I know Saints Patience will get those dates and acclaim - I shall ensure that - but they need those gigs now whilst they are hot and ambitious. The Old Pink House, even at this early stage, will be looking far ahead and wanting to see their music explode.

I was originally going to compare the band’s previous single, SO BAD (or ‘So Bad’). Given the work I have had to get through, it got to the stage where the guys had released Black Hole – so it makes more sense concentrating on that one. It is good as it gives me a chance to compare the two songs and detect similarities and patterns emerging. Max Middleton, Ollie Winn and Christopher Brown are the intrepid trio and create music that elevates mood and notably lifts the soul. This is ratified and codified within a few seconds of debut slice, SO BAD (I will capatilise it for now). The song opens with bright and cherry strings: bouncing, ripe and sunny. The optimistic and spirited compositions score lyrics that deal with anxiety and loss. Our hero is sleeping on the floor and facing a world without his girl. Maybe there has been a fight and the two have separated for a bit. That love was strong and definite: losing it has caused such a pain (in the heart) and sense of displacement. Our man is like a suburban nomad: squatting on sofas and hollow of energy; weighing up the past and present and speaking from the heart. Whoever the girl is, she has already made a huge impression and seduced the hero. The band keeps the background light without cheapening the mood. This is not their attempt at a Girlfriend in a Coma-esque juxtaposition:  there is a sincere desire to project a serious-and-hopeful blend without making anything jokey or diluted. As the song plays out; there are more revelations and story. Things aren’t working out and the hero is creeping out the door. Maybe there have been one too many disagreements and the two are on different pages. Whatever the reasons, it is clear the bond is no more. It is a rather rare and honest approach to a love song – one where the hero, admittedly, is being a bit of a coward. That sneaking out and evasion might not be the bravest approach but seems logical given the turbulence between the two. SO BAD keeps bouncing around the brain long after it has played and wins you with its blend of layers and simplicity. SO BAD has those beats – that have Hip-Hop and Indie strides – but throws all manner of sounds into the boiling pot. What you get is a vivid and colourful landscape never overly-cluttered and under-resourced. The band has penned a song that is instant and radio-worthy and one that can still exude merit months down the line. Black Hole deals with similarly weighty issues but presents things in a more sedate and temporised setting. There is still enough energy and SO BAD-esque shades to follow on but Black Hole is a very different song. It has a lot of maturity and sadness – understandable given its title – but is perhaps more nuanced and slow-burning than its counterpart. The song registers intent and impact upon the first play but you need to get your head around it one or two more times for all the different sides to coalesce and resonate. That is a hard trick to pull off but one the band does well. They could have penned a very similar song to SO BAD but haven’t. Instead, they subvert expectations and deliver a song with more candidness and heart; perhaps it lacks the bounce and rouse of their debut but both songs deal with weighty and serious issues. This range and compositional contrast mean any future release will be hotly received. The Old Pink House have shown they can move in various directions whilst retaining their singularity.

It was unlikely Black Hole would look at something hopeful and positive. That is not what is on the boys’ minds and not where their music is coming from. Rather than pen something insincere and needlessly peppy, the guys have crafted a song born from a very real and relatable place. If they do bring out an E.P. one hopes there will be more hopefulness and redemptive spirit there. As it is, Black Hole looks at a torturous time where the lead has a black hole in his chest. Wanting to be dragged back to the shore and rescued: one feels a love breakdown but it is not too clear in the opening seconds. Whereas SO BAD/So Bad was a confession of mismatched love against sparkling and bright backdrop: here, we have a more introverted and personal song whose support is more twilight and contoured. The strings, light and nimble in the first phases, sparkle like stars but never expend too much light and energy – they twinkle and implode before coming back again. The vocals switch between processed and dark to a more levelled and organic presentation. It gives the song depth and fascination. You are never put off by the rather bleak mood. The band do not go in with a mopey and resigned attitude; each stage of the song has a lot of hope but the lyrics are tackling some rather thorny and fiery situations. There seems to be that need for love and salvation. Whereas SO BAD was more an admission of past glories and current realities: Black Hole is the embodiment of the vacuum one feels when denied love’s fulfilment. The hero wants the heroine to give him her life/love; save him from a rather wretched and destitute alternative that is causing quite a lot of pain and discomfort.

The guys do not merely present their lyrics with basic elements and predictable guitars. You get little flashes and gurgles; lovely little interludes and physicality that not only embody what is being sung but throw in nice little details for the listener. Aside from some of the vocals (in the chorus) being treated: there are compositional touches that seem to express emotion and story. It is hard to explain but the song goes in all sort of directions and has that elastic composition. The lyrics are single-minded in their focus and intentions: the boy wants to be lifted from his miasma and win the girl. I am not sure whether the song’s heroine is the same we saw in the band’s debut single – maybe a prelude to that song – but it is a grand contrast to what was being expressed there. No creeping out and evasiveness; there is none that of that surrender and need for space. If anything, Black Hole is the polar opposite. Maybe past heartache and stress have caused huge damage to our hero. He is in a dark place and wants to find that light. Rather than wallow in torment and what-ifs, he is laying his heart on the line and sending a message out across the sky. Whether the girl is attached and feels the same way is not explained. The chorus never really references the song’s title but is more a plea to the girl – wanting her to give herself to him and save our man from a life of emptiness. Of course, I may be stretching when it comes to interpretations of love – although it seems quite simple and clear in that sense.

The band gives a performance that shows they are properly tight and innovative. The bass is constantly driving and guiding: pushing the song forward but providing its own rhythm and power. There is a nice and solid percussion tied to some experimental and raw guitar notes. Put it all together and you get a score that balances burning, hard emotions with something more relief-laden and hopeful. I mentioned Black Hole is not as light and positive as SO BAD. That is true but Black Hole ensures it is not caught in a web of misery and dejection. It is a track that has so much detail and depth it is impossible to ignore it or have it in the background. It demands a certain level of concentration and one imagines it will prove very popular in the live setting. The band has reached their second single and providing fans a couple of glimpses into what they’re about and where they’re going. Black Hole is a song that could be played across the most credible stations in the U.K. but also score a tense relationship drama too – it has that mobility and appeal. I am not sure where the band is heading next in terms of sound and songs but Black Hole is a fascinating glimpse into where they are now. You need to hear the song a few times as it does keep producing new meaning and possibility each time. Bands such as Car Seat Headrest have impressed me this year with their broad sonic palette and memorable songs – they are one of those bands everyone is tipping for 2017. The U.S. band have crafted one of 2016’s best albums in Teens of Denial and one of the most prolific acts in the music world – they seem to stamp out an album every year! I see bits of them in Old Pink House, but more importantly, a band like Car Seat Headrest provides inspiration and guidance the new breed. Bringing it back to the Newcastle clan and I see a bright future ahead. Black Hole is a terrific song from the trio and one that shows they have plenty of inspiration and talent in their ranks. It will be fascinating seeing how the band grows over the next few months.

Black Hole (sometimes in BOLD capitals) is the sophomore song from the Newcastle band. Although it is their second cut, there is plenty to suggest more music will come sooner rather than later. In previous reviews, I have stated how vital the first songs are with regards standing out. If you do not go in strong and hard you risk losing market share and being overlooked. Such is the fickleness and competitiveness of modern music: if you are not prepared and organised right from the off it can be hard coming back from that. I would expect the guys to produce an E.P. next year; a four or five-track collection that has Black Hole in its mix. I am not sure how much more material they have left but will surely vibe from the respect and appreciation they have gained live. Supporting Let’s Eat Grandma is no minor feat and something that makes their C.V. stand out. I opened by looking at local gigs and their importance; how Newcastle is often overlooked in favour of other cities. The local media are doing best to promote their artists but need the backing of mainstream and nationwide sources. I am sure The Old Pink House will gain that but are entering the market at a very busy and changeable time. As I stated, there are a lot of solo acts being proffered and tipped for 2017 success. Whether this sea change is as a result of thematic and lyrical tones – something more relevant and original – I am not sure. Too many bands have played it safe for too long. Concentrating on love and modern life without adding anything new to the recipe: artists like The Old Pink House are doing their best to provide fresh and engaging music. Black Hole, if it is the sound of where they are heading, is much-needed right now. I expect them to tour a lot after Christmas and promote their new single.

After that, things can get exciting – if a little tough and stressful. They have created a wonderful song but have to decide whether to keep on touring, and get a reputation around the U.K., or get back into the studio. Time recording can mean other bands get gig spots and focus heads their way. In the same vein, too much touring means the band can tire and start to show strain. It seems best, therefore, a fine balance is creating: one where there are enough solid tour dates but concrete plans to get some more music laid down. Next year will be an exciting one for music and one where bands will be making a lot of noise. If this year has been defined by some wonderful solo-made music – and many tipsters are featuring them heavily for next year – then bands have a chance to prove they are worthy of attention. I feel the reason solo artists are getting more love is because of the variety and nimbleness they bring to music. They are not hampered by festival demands and fitting into moulds. They have the potential to do whatever they want and the final vote is theirs – not having to debate with other members as to direction and schedules. When the dust of Christmas settles, I know The Old Pink House will be putting new stuff together and trying to get it under the noses of influential D.J.s and big stations. I have no reason to believe they will not achieve that: their latest single shows plenty of promise and sticks in the mind for a long while. Few bands have the savviness to embrace the local scene and keep busy touring. Too many are preoccupied with running before they can walk and being a bit impatient. That is understandable (considering how many other groups are out there) but you need the backing of your home crowds before you win the heart of the majority.

PHOTO CREDIT: Daniel Stark

I have talked about management and getting someone to get the music to the venue bosses; how important touring is and how Newcastle will come more into focus in the coming months. I alluded to influences – forgot to mention it at the top – but something that excites me about The Old Pink House. It is hard to label the band and fit them into traditional genres. Black Hole has psyched-out sounds and Hip-Hop-inspired rhythms. You get huge Pop hooks and plenty of sparks. In the live setting, the guys have already been compared to the likes of Foals and Unknown Mortal Orchestra. Those are two acts I do not hear come up too much. Foals, especially, are a band that have crafted some superb music but do not get the acclaim they deserve. Unknown Mortal Orchestra is another wonderful act that is more influential than you would think. Being linked to these artists, at such an early stage, is quite an accomplishment and not to be taken lightly. If you consider all the threads, sounds and genres the band splice; the acts they are being compared with – it all sounds very exciting and the recipe for success. I am not sure just what the boys want to achieve next year but they seem like the type of band who dream of big festival sets. When the weather improves, many established acts will be loading their vans with gear and travelling all over the place. The lure and romance of the road are attracting a lot of musicians and ensuring music is not short of passion and potential. I have not seen many ‘Ones to Watch’ lists that include bands. When we see these band-heavy lists that will give us an insight as to who the taste-makers are backing for success. It is not just local sources that will be supporting The Old Pink House and ranking them as a force to keep an eye out. The Newcastle lads have a fascinating and exciting sound that, one imagines, will be championed by stations like ‘6 Music and see a lot of London venues take notice. Black Hole is a song that does strike instantly but reveals more when you play it again. I keep mentioning the importance of nuance – rather ironically – because it is a word/subject that is being ignored by a lot of musicians. That is the one ‘asset’ that is common among the most-celebrated mainstream albums/acts this year. I know the trio of The Old Pink House will keep building and delivering quality songs into 2017. How they take flight will be exciting to see. However they choose to do it; the possibility of a debut E.P…

WILL delight many.

[soundcloud url="https://api.soundcloud.com/tracks/296022487" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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Follow The Old Pink House

 

Official:

http://www.theoldpinkhouse.co.uk/

Facebook:

https://www.facebook.com/theoldpinkhousemusic/?fref=ts

Twitter:

https://twitter.com/theoldpinkhouse

Instagram:

https://www.instagram.com/theoldpinkhouse/

SoundCloud:

https://soundcloud.com/the-old-pink-house

INTERVIEW: KEELS

INTERVIEW:

 

 

KEELS

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KEELS (or ‘Keels’) is one of the most talked-about songwriters around…

the U.K. and E.I.R.E. at the moment. As former member of the band Empire Divide, Niall Keels cemented his reputation around London as a name to watch. Stepping out alone, the single Surrender brings together embers of The National and Bon Iver. There will be more work coming – which is exciting indeed – so I was eager to talk to KEELS about the new material and how life solo compares to that in a band. Having toured with the likes of Augustines, Catfish and the Bottlemen and Young Rebel Set; working with established filmmakers Kim Roden and Alfie Biddle - many would be envious of that sort of C.V. Always humble and forward-thinking; KEELS has his sights set on 2017 and just what can be achieved.

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

I’m all good, thanks. Just trying to get everything done before the Christmas panic-shop. On the music front, I have been getting a few bits in place for the video (for the) next single Darkest Nights - and getting the live rehearsals going.

 For anyone new to your music: can you introduce yourself, please?

Sure. My name is Niall Keels. I am a singer/songwriter on a journey to live the dream! I have lots of new work to share which I’m very excited about. If you like The National, Bon Iver and Massive Attack you should give my music a listen.

I do not often get to interview Irish artists. Which part of the country do you hail and how does the music scene compare there (to England)?

(I have) A very Irish name and a very Irish dad but I was born and brought up in Surrey/Sussex.

I have a lot of friends and family over in Dublin and spend a fair bit of time there. My allegiances are with the men in green when it comes to sport.

This was drilled into me from a very early age from my dad and the rest of his mates down at London Irish Rugby Club in Sunbury. I played with the club all the way through ‘til I was about nineteen and it was there I had to quickly learn a good Dublin accent.

Based out of London, I can imagine the capital provides its fair share of inspiration and frustrations. What is it like for an aspiring musician living in London?

London is a great CITY but it is an expensive place to live! On the music scene, there are some brilliant venues to play for up-and-coming artists like the Lexington, The Sebright Arms and St. Pancras Old Church - where I’m playing in March of next year. It’s great that so much music is readily available and it certainly helps provide creative motivation. London is such a diverse, multicultural hotbed: you meet so many people from all walks of life which can only be a good thing in terms of creative inspiration - especially when you’ve worked as a waiter/landscaper/carpenter/brickie’s assistant.

Looking at reviews that have been paid to your music – you are being compared with the likes of The National and Bon Iver. So early in your career, is it quite daunting or humbling receiving that kind adulation?

It’s both! Very humbling as these, in particular, are two acts whose works I love. I have been to see The National live in London a few times and absolutely loved it. Epic songs delivered so well on the big stage: Slow Show and Hard to Find are two of my favourite tracks. Bon Iver has inspired so many people: just look at how many artists have covered Skinny Love! What a voice and what great songs.

You are a former member of Empire Divide. What was it like being part of the band and how does solo life compare?

Being part of a band is great. Working collectively on a track is an awesome experience. It’s not all that different now as Keels.

I still enjoy writing with old band members and I work closely in the studio with my producer and other writers - which means the creative process is similar. I just get to have the final say. Live, I will be playing with a band, so that shared performance/enjoyment of the music on stage won’t change all that much. I always work with musicians who are into the music and believe in the project, which is very important.

Surrender is your new single. What can you reveal about the origins of the song and what inspired it?

Hard to say. The chords and melody to the song came about when I playing at home on the piano. The lyric "Heart will surrender to nothing but The Devil’s play” came out of nowhere, almost immediately.

We have all lost someone at some point or another so once you have a starting point - the skeleton; chords, structure and lyrical idea - it’s just a matter of fleshing it out and building the track up - and retaining the theme of loss and regret which I did with a friend in the studio.

[youtube https://www.youtube.com/watch?v=Ns222Wo6uPc&w=560&h=315]

Was it a difficult song to get together or did it kind of flow when you got into the studio?

In terms of the body of the song it all came together pretty quickly but the production on the track has evolved. Building up the sounds/pads and vocal layering took time.

The video for the song is beautifully shot and conceived. Whose idea was the video and what was it like working with Kim Roden and Alfie Biddle (whose work includes V for Vendetta and Harry Potter)?

After putting together a mood board the video was storyboarded by Kim Roden and Alfie Biddle. Alfie is one of my best and oldest friends and he also happens to be one of the best up-and-coming cinematographers in the film business. He is immensely resourceful and generous with his time and I have been very lucky to work with his talented team. Alfie has worked on some huge films in differing capacities and his wealth of experience and knowledge plays a huge part in delivering such a powerful visual that works so well with the track. I couldn’t recommend a better team of people to work with and I think the video is sufficient evidence of this.

Can we expect an E.P. or album next year perhaps?

There will definitely be an E.P. first and hopefully an album at the end of 2017.

PHOTO CREDIT: @pedroalvesphotography

In terms of the musicians that have inspired your music: which would you rank as the most important and why?

Again, a very tough question to pinpoint as there are so many artists that have influenced my vocal delivery and songwriting.

I would say Johnny Cash/Roy Orbison/Elvis are three vocalists that I listened to more than any growing up. They all had an amazing ability to convey their message through a powerful and honest vocal delivery.

For me, honesty is the most important quality in delivering a message through a great melody.

Having toured with everyone from Young Rebel Set and Catfish and the Bottlemen you must have some fond memories. What has been your career highlight so far?

Young Rebel Set are a good bunch of lads with great songs and I am always surprised that they haven’t had more success. Berlin Nights is brilliant. Career high is hard but playing with Augustines to a sold out KOKO was pretty special. They’re another band I am amazed haven’t exploded and was very sad to see that they had called time. Another high was playing more recently out in Moscow in a sold-out Imagine Café - where my brother came and joined me for my set. We’re best mates so to have him with me for that show singing to a sold out venue was awesome.

Are there any new artists coming through you recommend we check out?

Amber Run are a new band coming through that I played with a little while back: nice guys with a good sound. Also, an Irish act called Picture This are definitely worth keeping an eye on.

PHOTO CREDIT: @der_ivanov

Is there any advice you’d offer to any new artists coming through?

Be determined/persistent. I have been grinding away for a long time now and it feels like things are starting to really come together.

Luck plays a huge part in music but you have to be in it to win it. Of course, be true to yourself as an artist and don’t rush. Look at Sia: her first number one came album in her late-30s.

It is almost Christmas. Any plans for this year? What have you put on your list to Santa?

Excited to spend Christmas with old friends and family: it’s the one and only time of the year some friends are about.

Also super-excited to get all the live performances going in the New Year and can’t wait to put more tracks out. I’d love to get on a few more shows overseas: always a great opportunity to see a new city/town.

I have asked Santa for a Christmas number one. I didn’t specify what year so we’ll have to wait and see!

Finally, and for being a good sport, you can choose any song you like (not yours as I’ll put that in) and I’ll play it here.

Hard to Find - The National

[youtube https://www.youtube.com/watch?v=3mfpCQM92F8&w=560&h=315]

Thanks to you all and a very Merry Christmas. 

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Follow KEELS

 

Official:

http://www.keelsmusic.com/

Facebook:

https://www.facebook.com/KEELSMUSIC/?fref=ts

Twitter:

https://twitter.com/keelsmusic

Instagram:

https://www.instagram.com/keelsmusic/

SoundCloud:

https://soundcloud.com/keelsmusic

YouTube:

https://www.youtube.com/channel/UCkfu8IoyAjGyODM-34aHx1g

INTERVIEW: The Peppersplum

INTERVIEW:

 

 

The Peppersplum

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THIS year, one of the nicest surprises was discovering…

Mexican sisters Marie and Sussie Fernandez. Known as The Peppersplum, they are heavily influenced by older English music and U.S. Rock; European Dance and more traditional Latin sounds. Songs like Take the Adventure of Love pulls all these disparate threads together and shows what passion and talent the duo has. Into next year, the girls will be looking at releasing new music. They discuss these plan alongside memories of the year so far; what type of music inspires them and how Is It Love? (their last album) came together. In addition to that, the girls are working on two new albums - which shows just how hard-working and determined The Peppersplum are. They chat about those releases and what they have planned for Christmas.

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Hey girls. How are you? How has your week been?

Sussie: Hi there. It is so nice to talk to you. Thanks for this time you take to talk about music. Also, we would like to thank you so much for the review you wrote: we really like it and enjoyed reading it.

Marie: Some parts are as if you had been there watching very close to what it was. Surprisingly accurate.

For anyone new to your music: can you introduce yourself, please?

Together: We are The Peppersplum. (*smiling*)

Marie: We’re sisters…

Sussie: …and we do music.

You began your musical life 2006. What compelled you to start a duo and can you remember the first song you recorded?

Marie: Not only the first song we recorded but also the first song we wrote.

Sussie: Well, we always wanted to sing and express ourselves in an artistic way.

We can recall when we were very little: every time we saw a theatre play we tried to replay, in our house, all the roles by our own - all the singing, all the words and acts like it were a children’s game.

As sisters, what was the type of music you grew up listening to?

Sussie: We listen to a lot: all Rock and Roll; ‘50s, ‘60s; ‘70s, ‘80s and ‘90s music.

Marie: Yes, we like all the old music stuff.

What is the musical scene like in Mexico? Is there a lot of great indigenous music or (does the country) take in a lot of U.S. and British music?

Marie: Well, we can´t really say what's the scene (as we listen to all stuff) but Mexico does take lots of English music.

The Beatles still have a daily hour on one of the biggest radio stations.

Sussie: Yes, indeed. I think it is (as you have probably said) half local music whilst half of the population goes for English music.

You have won a collection of awards and accolades over the year. What has been the proudest achievement for The Peppersplum?

Sussie: Wow, well, every one of them. They are different and we like to think it is because of our fans and their love and amazing support.

Marie: Yes. All of them have a special place in our hearts, in our music; most of all, a big thanks to all the people involved: the ones who work alongside us and the fans; the prizes are them.

https://play.spotify.com/track/2XTh24LMfWj4FmLCmqdhcn

Can you tell us about the coming months? Any new music coming through or E.P.s in the pipeline?

Marie: No. In fact, we did a pause to answer this interview. We are recording the album. The album has been delayed for many reasons. Upcoming is two new singles - but totally different. The two albums will have twelve to fourteen songs on each one – so, if you count the two of them that will be at least twenty-six or so new songs. Their titles will be Fast Love Vol. I (Dance) and Fast Love Vol. II (Rock).

Sussie: Yes.

We are recording two albums - following the single format. This E.P. is, in fact, the first single from two different albums: one the Rock side and the other is a Dance album.

They are two singles from two different albums (but with the same name). We’ll hopefully finish recording the two albums next year.

Is It Love? composes eleven unreleased tracks and was your second studio album. What was the inspiration behind it and how does it differ from your debut work?

Marie: Guess we have to start by talking about our debut album and the difference (with that) and Is It Love? Yeah!, as it's called, was the first step to achieving our dream (to write music). When we finished it, we were like: “Can't wait for everybody to listen to it”. The second one we hid a bit so it stays a little longer - only for us alone. Is It Love? has lots of emotions. When we recorded, it was a tough time for the person not for the musician. We were having a real hard time recording. That album was what kept us going. In Life, for example, is about loss - but not to a love - but concerning our grandfather because he was like our dad - and then he passed away. Every one of the eleven songs is a story on its own. They are different. The only one thing permanent in all our songs and albums is genuineness.

Sussie: Yeah! was an affirmation: it was a "yes it's possible". We’d been told: "Girls in a Rock world? Only in more than ten years"; "Girls for Rock are not good". So Yeah was: “Look at us, we did it"! Is It Love? came together in a more accomplished way.

We wanted to write more about us and we added some more thoughts and emotions, as you said (which was very amazing for us, you figured it out). Words we really use, that are totally us, like: "I just can't believe..."  This is a phrase we used a lot (maybe we're not believers) (*smiling *). But we wanted to take away all the bad experiences we were living by singing.

What has been your favourite song to record? Which one has meant the most to you?

Marie: The new one we're working on in that moment is the favourite. All the others left a mark, of course, but they have gone.

Sussie: We like them all. They were part of us in a time and space, and when we listen to them again, it is like seeing an old friend.

[soundcloud url="https://api.soundcloud.com/tracks/291271807" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Do The Peppersplum have upcoming gigs or are you spending time in the studio?

Sussie: Well, as we said, we’re finishing recording these two albums - but we have signed with a new manager so we are eager to confirm some upcoming gigs.

Marie: Hey, she said it all (*smiling*). Some surprises soon.

You have a lot of love for the U.K. Can we expect to see you play in the country anytime soon?

Marie: We grew up listening lullabies like (*singing*) “Orange and lemons/say the bells of St. Clements”, so you can say that.

Sussie: “Oh, The Grand Old Duke of York...” (*again singing*). We love to play there. We hope with this new guidance (manager) we could play there very soon. As soon as we know we’ll share it with you as well as well as new stuff.

Marie: Yes. We are really curious about finding out your opinion on the new tunes.

Are there any local artists or artists you love you’d recommend we investigate?

Sussie: Oh God! We only listen to old music as we said. Wow, this is a hard one.

Marie: The Beatles and Elvis are so well known (joking) – sorry, we really don’t know who to name.

[youtube https://www.youtube.com/watch?v=3F4_ePEi2DI&w=560&h=315]

For any bands/musicians wanting to follow in your footsteps: what advice would you offer them?

Marie: Constancy! It's the only thing that would make you get your goal.

Sussie: Be patient and don't let down yourself.

Finally, and for being good sports, you can request a song and I’ll play it here (not your own as I’ll include that).

Sussie: Always good sports and fair players so mmm… would be nice to listen to an old tune like E.L.O.’s Last Train to London.

[youtube https://www.youtube.com/watch?v=hpCBv1dO3eA&w=560&h=315]

Marie: Or we can go a little bit earlier and listen to House of the Rising Sun but we’ll leave it up to you. Thanks a lot for this interview; we were very glad answering it. Looking forward to your review of our next tunes.

[youtube https://www.youtube.com/watch?v=y2oKRKZnEoA&w=560&h=315]

Sussie: Thanks. It was so nice. Hoping to see you all of you at a gig.

__________________

Follow The Peppersplum

Facebook:

https://www.facebook.com/thepeppersplum/?fref=ts

Twitter:

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

Instagram:

https://www.instagram.com/thepeppersplum/

SoundCloud:

https://soundcloud.com/thepeppersplum

YouTube:

https://www.youtube.com/channel/UCwjH43XXtfM44VeHlXZYX1A

FEATURE: Track of the Year: Radiohead – Burn the Witch

FEATURE:

 

Track of the Year:

 

 

Radiohead – Burn the Witch

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YESTERDAY, I expounded the virtues of an album by a blonde-haired…

Yorkshire native – my favourite record from this year in music. Facing some hefty competition and long odds: the fantastic debut cut beat off all other competition to claim the honour of best album of 2016 (I am not mentioning her name as promised it would be the last time this year; you can check yesterday’s post if you are that curious). Today, I am looking at the track that, for me, stood out from the rest this year. Given the amount of songs unveiled throughout 2016, it is challenging narrowing it down to that one choice. There have been songs of all shapes, sizes and genres; from across the world and exploring all types of subjects. It is true; my longlist contains music from Hip-Hop, Electro.-Pop and Alternative. The one that actually takes home the gold it the lead-off track from Radiohead’s ninth studio album, A Moon Shaped Pool. There are quite a few reasons the album transcends all others and sticks in the memory largest. As 2016 came into view, there was the odd bit of press about Radiohead’s movements. Aside from Twitter-based tease and Instagram snapshots: few were really sure whether the Oxford band has an album in them. True, there was some hesitation and doubt after 2011’s The King of Limbs. That album contained the usual array of beauty, mystique and command. Following the near-career-defining In Rainbows: many were hoping for a similar album yet The King of Limbs traversed new ground. Not that their eight album was a disappointment: it just felt a bit short of In Rainbow’s majesty and quality. There was a fear, if 2016 was to produce a Radiohead album, it would be a run-on from The King of Limbs.

As it was: the doubters and fearful could rest easy. A Moon Shaped Pool took the purest and finest elements of The King of Limbs – the orchestral sways and attention to detail; the sense of refinement and purity – but cast the net wider and expanded the sound. Aside from some ‘older’ Radiohead songs – True Love Waits finally made an album appearance – there was plenty of nervous energy, atmosphere and life. Ful Stop, Deck’s Dark and Identikit cannot easily be compared to the more regent and introspective string-laden tracks. Say what you want about the album, one that cracked my top five; making it to the second-placed spot, but its first single cannot be questioned. I remember the moment (in May) it dropped to the world. This year has seen too much bloodshed, division and separation – as I type this I am reading another horrifying piece of Aleppo and failing ceasefire – and musicians have been responding this. Burn the Witch is a song that looks at the negative, accusatory and hateful elements of society. Whether you see it as a caution against groupthink or a general pervading scepticism: lyrics like "abandon all reason/avoid all eye contact/do not react/shoot the messengers/burn the witch” are as powerful and haunting as any committee to tape this year. Against the news stories of mass immigration and prevailing wars: Burn the Witch is Radiohead at their most relevant and unsettling. Not since How to Disappear Completely (from the profound and life-affirming Kid A) have they managed to marry that overwhelming beauty and creepy undertones so naturally.

The song’s promotional video was directed by Chris Hopewell, who helmed their stop-motion film for There There, and employs a similar technique to achieve its results. Rather than a lone Thom Yokre tripping through a woodland filled with miniature animals and strange Sylvanian Family-esque figures: this one incorporated elements of the 1960s T.V. show, Trumpton Trilogy. In addition to homages to The Wicker Man; the video sees an inspector looking around a quaint (if unnerving and disturbing) community – where a local fair is unfolding; complete with dripping blood and strange, Pagan dancing. At the end, the representative is imprisoned in a giant Wicker Man figure. An evocative and unforgettable way of representing the song’s themes of right-wing activism and polemic political rhetoric. It is not just the visual accompaniments and build-up that makes the song such a triumph. The entire band is completely in-check and awe-inspiring. There is Jonny Greenwood’s string articulation and genius – a man who knows how to score an incredibly moody and exciting set of players. The orchestral flavours are bolstered by fantastic and atmospheric performance; a production that is clean, crisp and astonishing. Thom Yorke’s vocals, as is the case with the album as a whole, is the emotional centre and most remarkable asset. Never has he sounded as seductive, spectral and beguiling. There is no vocalist capable of producing such spine-tingling and evocative vocal deliveries. Burn the Witch is Yorke at his very peak. Whether elongating or syncopating he is completely engrossing and spectacular. If you put all of these considerations and commendations together you have a song that is worthy of A Moon Shaped Pool’s acclaim and solid reputation. Even if other critics have placed the song scandalously low down their list (of the year’s best songs) that is their issue. Those who know their music at least place the song in their top twenty choices of 2016. Burn the Witch provided 2016’s music one of its biggest shocks and most dramatic moments. Radiohead took down their social media pages and created whispers and hushes of fevered excitement. Few could have predicted anything like Burn the Witch and its myriad wonders. Even seven months after its release it continues to yield answers, insight and questions. Some might say it was long-overdue from the legendary band; others wanted more (of Burn the Witch) across A Moon Shaped Pool. To the neutral observer – and those unconcerned with petty criticisms – recognise Burn the Witch as a rare marvel...

THAT made 2016 just that little bit more special and strange.

[youtube https://www.youtube.com/watch?v=yI2oS2hoL0k&w=560&h=315]

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Follow Radiohead:

http://www.radiohead.com/deadairspace

TRACK REVIEW: Lewis Fieldhouse - Naked Psycopathic Blues

TRACK REVIEW:

 

Lewis Fieldhouse

 

PHOTO CREDIT: Ray Roberts

 

Naked Psycopathic Blues

9.5/10

Naked Psycopathic Blues is available at:

https://soundcloud.com/lewisfieldhouse/naked-psycopathic-blues

GENRES: Americana; Alternative-Pop

ORIGIN:

London, U.K.

The album, Theodor Washington and the Central Valley, is available at:

https://fieldhouse.bandcamp.com/

RELEASED:

2^nd December, 2016

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NOT too many reviews left for this calendar year...

PHOTO CREDIT: Ray Roberts

but there is always time for a fantastic solo artist. I have included, in these pages, quite a few throughout 2016 but none that sound quite like Lewis Fieldhouse. Before I come to him, and look at his music, it is prudent investigating the male solo artist and those who source inspiration from unusual places; a little bit about original vocals and music that hits various parts of the body. Quite an odd compendium of subjects but all fitting when thinking of Fieldhouse. I have been assessing and featuring my favourite albums from this year (mainstream) and what defines them. Among my top ten, there are few inclusions from male solo acts – James Blake is a rare exception – with the majority either being band-made or female-created. There has been, as I have stated before, a move away from bands and their dominance and towards solo artists – I feel the female artists have been getting (long overdue) dues. There is nothing to suggest this proliferation and focus will halt in 2017 – that is something quite heartening and pleasing. I am casting my mind around the mainstream works from this year and trying to think how many – those great, titan albums – derived from the boys. Kanye West and Frank Ocean perhaps; James Blake and David Bowie. Just looking at The Guardian’s run-down of their selected ten from 2016 and the opening gambits are mostly female-led. Apart from Kanye West (number four) there is Christine and the Queens, Rhianna; Anohni and Solange in their list. Bands are getting critical nods but there seems to be a surfeit of solo males creating extraordinary works. In the underground, there is hope to suggest that will change in future years. It is fascinating seeing trends change and various dynamics unfold. There was a time, not too many years ago, the boys were ruling the landscape – that is all changing now, thankfully. I am, with no small gratitude, pleased there are some great new male acts coming along. The new musicians I have witnessed this year possess more mobility, hunger and variegation than a lot of the best of the best. Lewis Fieldhouse is an artist who seems ready-made for the demands and challenges of the mainstream. Not your average turn-up-sing-some-pretty-songs-bugger-off artist: his music and words go beyond the average and elicit beautiful images. Before I carry on my point, and get to the music behind the man, it is apt we learn more about Lewis Fieldhouse:

PHOTO CREDIT: Juliette Carton Photography

“London-based Lewis Fieldhouse creates unapologetic alternative pop, with the raw touch of the American south-west. A story-teller at heart, Lewis has a lyrical eye for the absurd and sincere, offering up snippets of life coupling humour with honesty. His music evokes the lush sound of The Beach Boys and Father John Misty, with acoustic flair and undeniable hooks. In the past couple of years, Lewis’ work has caused a positive stir amongst music blogs like the The 405 and The Vinyl District, with It’s All Indie crowning him “one of the most exciting singer-songwriters in London at the moment.” Originally from the north of England, Lewis arrived on the London circuit in 2013, by way of a number of “life affirming” road-trips in the US. Lewis is a self-professed ‘geography and Tolkien enthusiast’, with an impressive collection of colourful shirts. He describes his vibrant musical style as almost a rebellion against the darker, more hostile indie sounds he grew up with. In 2013 his debut single, The Water’s Fine, featured on the soundtrack to Emily Diana Ruth’s independent film of the same title. Glasswerk describe his first EP, Born Human, Raised Human, as Fieldhouse’s own “contemporary brand of infectious, sun-soaked acoustic alt-pop”. His tracks have spurred the attention of DJ’s at BBC London Introducing, Amazing Radio, as well as BBC2’s Janice Long. In 2015 Spreading the Seed called his latest single, Not Done Loving You “an acoustic pop masterpiece”, as Lewis continues to hone his combination of immediate hooks and flourishing guitar. Lewis is currently gigging in London and across the UK while working on his debut album. His next single, Goodbye, a nostalgic ode to summer love, will be aptly timed, hitting the airwaves in August 2015”.

PHOTO CREDIT: Ray Roberts

With Fieldhouse, you have a musician that stands in the mind instantly. In addition his suitcases of colourful shirts and his impressive social media platforms – lots of cool images and information – it is his stories and songbooks that get inside the head. Normally, when it comes to a lot of male artists, there is a dependence on relationship dramas and personal conflicts – maybe some inner-investigations and emotional outpourings. Essentially, there is little in the way of plot, progression and originality. Fieldhouse has, which is evident in his latest album, been influenced by the U.S. and his travels on the road. Not only going there to find himself and try to find answers: his songs reflect some unusual characters, weird landscapes and chance conversations. It is a travelogue of peculiar and charming adventures: like M.C. Esher and Picasso melting work, minds and thoughts – something twisted, bizarre utterly engrossing.  It is hard to get to the core of Fieldhouse’s work – in terms of defection and genres – so it is best to be heard and experienced. In a way, he reminds me of John Grant: another artist whose big personality and unique songwriting stands out from everything else around. Whilst the Iceland-based American is taking time out to record a new album; Fieldhouse is presenting his – I shall come to that a bit later. Essentially, the London-based musician stands out by being himself. There is no pandering to the media and fitting into holes; no run-of-the-mill songs and radio-ready cuts. Because of that, critics and fans have been celebrating his work and tipping him as one of 2017’s great hopes. Whilst my favourite albums from this year have had some ‘predictable’ subjects at their heart – songs about heartache and struggle; unearthing personal torment – it is the performances and music that really gets to me. With Fieldhouse, you get an extra layer of intrigue. There is that incredible voice and luscious, interesting music: you get tales and lyrics that fizz with imagination and humour; cut with their honesty and rawness – so many contrasting emotions and ideas.

PHOTO CREDIT: James Byrne

Before I summon the discipline to cut to the quick, as it were, it is worth noting Lewis Fieldhouse for his colourful and full-bodied music. I alluded to artists who put little effort into their compositions and overall sound. It is becoming quite common in music and something that needs to be controlled. It is encouraging hearing artists like Fieldhouse adding verve, character and fascination into music: let’s hope others hear his lead and follow suit. What is so fascinating is the way (Fieldhouse) keeps things quite calm and controlled yet manages to evoke serious weight and atmosphere. Reviewers have compared Lewis Fieldhouse’s work with the likes of Father John Misty and The Beach Boys – that is no exaggeration and hyperbole. You get the lusciousness and harmonies of The Beach Boys with the sincerity and urgency of Father John Misty. There are elements (of other singers) in Fieldhouse’s music but, when you drill down, it is the man himself who stands out. I have heard a lot of artists this year who have each offered their own sound and ideas – there are few as striking and assured as Lewis Fieldhouse. Many new artists provide music that gets into the heart, body or mind – finding those who achieve that rare triumvirate is a long and arduous process. Fieldhouse is that lesser-heard musician who produces heartfelt, gorgeous vocals with compositions that provoke energy, movement and involvement. It is the candid and novelistic tales throughout Theodor Washington and the Central Valley that seduce the mind and imagination. I mentioned early – how many musicians concentrate on love strains – but Fieldhouse assesses and documents his travels and the people he meets; observations about society and what is happening in the world. Of course, there is a bit of heartbreak and romantic misadventure in there: by and large, songs are more imaginative and ambitious; mesmerising with their individuality rather than their relatable edge. Naked Psycopathic Blues, as one can guess from the title, is not your average ballad about a disreputable lover. It is part of a fascinating and colourful album whose adventurousness and strange sights are anchored by heart, humour and a human core.

Previous Lewis Fieldhouse compositions have shown strength and merit: his new material is the strongest and richest yet. The Water’s Fine was released a few years ago and contains a typical blend of soothing harmonies and rousing acoustics. It is a descriptive, involving and immediate song that draws you into events and captures immediately. Refugee, from the E.P., Born Human, Raised Human, is another beautiful and scintillating track that frames that amazing voice and luxuriant harmonies. If we wind forward a few years – and come to the debut album – one can hear that development and growth. The same components are there – in terms of the harmonies and compositions – but the subject matter is more intriguing and imaginative. On that same note, on Thedor’, one can detect new-found inspiration and energy. I have stated how many of the songs (on the album) do not directly address love but there are the odd moments. In fact, the turmoil and unpredictability are explored throughout the record employing various compositional shades and vocal nuances. I have found, when comparing the new and older work, the production is glossier and fuller; the confidence is hard to ignore whilst the singing is more emotive and heartfelt than ever. I can see another album arriving in a short space: it seems Fieldhouse is at his most inspired and vibing from his adventures and U.S. expeditions. Maybe current events, such as the U.S. election catastrophe, will compel new songs and lines. Whatever happens, it is encouraging hearing a songwriter in full flight.

Theodor Washington and the Central Valley was launched two weeks ago and as a result of a successful Kickstarter campaign. The fans’ faith in the material has meant a lot to Lewis Fieldhouse. Had the money not been raised, it would have been tragic to watch the album sit on the shelf – perhaps not seeing the light of day for a long while. It is perfectly timed because 2016 is coming to a close: a year that has seen so many unwanted events and timely deaths. The music is comforting and makes you forget your troubles; at the same time, it provides so many wonderful images and scenes. The listener is helpless but to engage in the physicality and directness of each song. Naked Psychopathic Blues’ title provokes instant interpretation. One envisages a crazy and bare-naked man raving and ranting; a derelict that is on the rampage perhaps. Whatever views and ideas you have ahead of time are evaporated and mutated after the first few notes. The opening seconds are as hard and grizzled as any on the album. If other songs stray towards Country, Alternative and Folk territory: here, we get a full-out balls-to-the-wall swagger. The percussion is tight and steel-fisted whilst the guitars wail, bite and groove their way into the spotlight. At once, you are elevated and motivated by the composition; physically moved and curious as to what is coming next. There seems to be some biography and personal relevance to the song’s lines. Noting how “We got married eighteen months ago today” seems to mirror Fieldhouse’s own life – having just celebrated eighteen months with his love. The song is certainly raw and direct. You feel, when the hero describes the rain dissipating against the weight of passion, that the carnality and spectacle of the coming-together is immune to gravity, compromise and reason. Maybe I am misreading but one feels that unity and recklessness: the desire to throw off the pressures of future and embrace the necessity of now.

PHOTO CREDIT: Juliette Carton Photography

Perhaps (the song) is less direct and more theoretical; maybe there is a fictional component coming to play. It is hard to misread lines that speak of doubting relatives and struggling-against-the-rock love. Many people, including parents of the sweethearts, felt the bond would not last. Perhaps the two are mismatched or have very different personalities – whether this was the case with Fieldhouse’s relationship – but there is a sadness and anger in the vocal. Maybe the sceptics are casting their aspersions at Fieldhouse/the hero. The girl is seen as a “trophy wife” and someone beyond conceivable reach of such a boy. Again, it is remiss to attribute the words directly to Fieldhouse but the parallels seem to fit. It is intriguing unpicking a song and getting right to the heart of the matter. It is galling hearing such negative words from the sweetheart’s parents. In a way, it has the ring of a classic love story. In classic novels, you hear of the down-trodden man or the social inequality of the lovers; the untraditional nature of love and how it flies in the face of social mores. In a rather nineteenth-century backdrop is the guise and blood of modern love. These two humans have fallen for one another but are facing the clucking tongues of those they seek acceptance from. As the story progresses, the title becomes somewhat oblique and byzantine. You do wonder what inspired that choice and whether it is the distillation of a genuine emotion – the embodiment of the anger and disgust felt by the hero. In spite of the strain and stresses felt by the hero: the vocals rise and the song starts to kick up a few gears.

PHOTO CREDIT: Juliette Carton Photography

Those lush and pleasing harmonies come in as the composition loosens and takes the song into its next phase. Fieldhouse changes from the man casting his mind back and recounting the story to someone with more bitterness and spite at heart. Maybe, and playing devil’s advocate again, there is fictionalisation and third-person narrative – maybe the song is looking at someone similar to him. The immature mate that is alcohol plays it roles and has infected the body of the hero. Hitting out at the girl and, deliberately it seems, causing wounds gives the song a sourness and sharp punch. It is contrary to the hopeful romanticism and struggles one hears in the previous verse. There is never attack from the hero but frank confession. Maybe having to battle so many oppressive voices has caused him to self-destruct and embrace a darker side. This virulent tonic that is released is causing scars and burns. As the song carries on, there is a line about making someone’s day – his wife’s/love’s mother it appears. Whether this relates to a moment of indiscretion and lust or walking in when they are at their most fraught and destructive – it seems like a told-you-so attitude would prevail. Fieldhouse gets more aggressive and charged as the words come out. Not his favourite woman it seems (the matriarchal figure is being put in her place) it seems like our hero is The Devil incarnated. There is a lot of tension and hatred in the house and it is fascinating finding out where true blame lies. True, the wagging finger from the mother is unjustified but it appears the hero is maybe acting out and engaging in futile rebellion. It seems this fight back is necessitated by an inflexible and judgmental tone from his girl’s parents. Now they are eighteen months down the line it seems like all the doubters can go to Hell. Naked Psycopathic Blues is the third song on Theodor Washington and the Central Valley and seems like a moment where Fieldhouse has to leave home and go somewhere less tense and unwelcoming. The fact he stands up for love and is so stubborn against the spitefulness is to be applauded. The entire song sticks its middle finger up and does not give a damn for idiocy. By the end, you know the lovers will get their way and be together no matter what anyone else says. Against the companion tracks of Theodor Washington and the Central Valley; Naked Psycopathic Blues is the standouts. It does look at love but in a way few other artists would dare. There are no tropes and lazy clichés: you get a mixture of emotions and a blend of classical heroism and modern poverty – in terms of emotions and depression. We know how things worked out for the pair: happily together and finding (albeit it not perfect) acceptance from in-laws and those around them. Looking back to a time where this passion was taboo is quite an eye-opening experience. Thankfully the entrenched sweethearts dug in their heels and followed their hearts.

He Hath Made You Rich is one of the standouts from the album and begins with gentility and soothe. The strings are soft and light; the vocal at its exquisite best. In many ways, the track reminds me of U.S. Soul legends and harmony groups like Boyz II Men. The Boyz’ were renowned for their extraordinary, velvet tones and heart-stopping beauty. I can hear a little of that in the song: the vocal is so chocolate-like and sweet; it has a calm and reflective nature but is direct and hard. Perhaps looking at a lover or someone gone: one senses the hero is pauper-like and willing to try again; regretting past decisions and looking on from the window. Perhaps events have transpired that makes love impossible and unrealistic. Whatever the origins, it is a song that glistens and glides; it grabs the heart and gets into the mind instantly. Live So Fast, Kiss So Slow is on the “wrong side of the tracks” and “drinking ginger and rum”. The hero is taken home by the girl and, right from the off, you get images of U.S. roads and lights ahead. Some of the album’s smartest lyrics (the girl taking advantage of the hero’s XY chromosome is beautifully executed) are here as are some of the most spirited guitar lines. The song has an infectious bounce and itinerant jog. One is infused and lifted by the energy and panache of the song. Showing what contrast and range there is on the album: Fieldhouse unleashes one of his most vivid and fascinating songs. You follow the tale and the imbalance of unrequited love. It is less about the ill nature and poor fate of events; more concerning the details and landscapes; the humour and buzz that is audible throughout. Fieldhouse sounds at his most alive and adventurous here. The entire album emanated from a (rather less-than-happy) trip to the U.S. Fieldhouse had intended to discover himself and drink in the scenes and sights of America. Rocked by personal tragedy in the U.K. and strain in the U.S. – the album’s themes and emotions reflect this upheaval.

PHOTO CREDIT: James Byrne

Great White Hope seems to be an assessment of the struggle and tangle of home and America: that need to get straight and find feet once more. It is “too late for me” as the hero says; not too late for the song’s heroine. That need to get a job and evade the pollution (both social and vehicular) of the city. It is another buoyant and mobile song that mixes elements of Country and Alternative into another album standout. Megan, Are You Goin’ My Way? is our hero heading for San Francisco and looking to cadge a ride it seems. The girl might be going that way but is a bit more reluctant. The lead wants to get away from the urban sprawl and concrete anxieties. He is looking to the horizons and using supplication on the heroine – asking if she will come with him. Here you get a portmanteau and proprietary blend of cherry red and sharp white – a heady wine that swims in the senses and elicits a relaxing kiss but makes you think. In a way, the album is a concept piece that follows a story arc. Megan, Are You Goin’ My Way? was the lead-off – our boy heading for a new place and wondering what is ahead. Istanbul is that travel back home. Appropriately, the song is another restrained and delicate number that perfectly ends things. Maybe Istanbul would have been a nice destination: somewhere away from where he is and a lot more agreeable than where he is now - perhaps a nice dream but not to be. There is wistfulness and sense of pining that comes out in the song. Fieldhouse has a love in mind and carries her with him (whether physically or emotionally). That raw and unquenchable desire keeps protruding and niggling at the hero. Looking back at regrets and indiscretion: this is the chance to make things right and redress the balance of things. The erudition that is displayed in each of the ten tracks is as a result of a life-changing and eye-opening trip. That time in the U.S. was not as wasted and fraught as one would imagine. Fieldhouse met some odd characters and great barroom tales; wide roads and quixotic nature – the contrasts and complexities of the country. In essence, realisation and clarity were obtained. Theodor Washington and the Central Valley is a wonderful and vast album that takes you on the plane and down the road. You are an uncredited companion of Fieldhouse and looking through his eyes. Songs switch from emotional and vulnerable to rousing and intense. Fieldhouse’s voice is consistently sharp, divine and varied throughout. Able to make every line and verse sound essential and compelling: there are not many artists that achieve that.

PHOTO CREDIT: Juliette Carton Photography

There is not much too much time left to make a big impression on the yet Lewis Fieldhouse might have done that with his debut album. So full of treasure, life and appeal: it takes a long time for every song to truly unveil its beauty, truths and full potential. I admire a lyricist who can provide something interesting and thought-provoking. I will not exsanguinate the body of the argument – with regards lyrics and making them stand out – but this year’s finest albums/creations are defined by relevant/strong words. I have argued against those albums most critics select as their 2016 favourite – although their long-list is pretty spot on. Such a busy and quality-strewn year for music that has seen some of this decade’s best albums produced. I am sure 2017 will keep the momentum strong and inspire those musicians coming through at the minute. That is the dynamic we need to see fostered and funded: mainstream’s best providing impetus and energy to the newcomers. The most exciting thing about music is seeing great new artists make strides: start climbing their way to the giddy heights of mainstream’s apex. I predict Lewis Fieldhouse will get there as he is one of the most curious and interesting musicians around. Not just one of London’s finest: music that has spread across the country and will cross to other continents very soon. It is not often artists experiment with Americana, Folk and Alternative ideas – fewer still who pull it off with aplomb. I am interested to see where Fieldhouse goes in 2017. There is going to be more music (naturally) but what form that takes is down to him. It would be good seeing an E.P. down the line: a nice between-the-albums release that follows from Theodor Washington and the Central Valley and provides the same sorts of tales, tease and tribulations. It is hard, with all the best artists, to really distill Fieldhouse’s essence and describe such an album (as Theodor Washington and the Central Valley). Exciting times ahead for the London-based artist. Capping off a busy and vital musical year; Fieldhouse can relax (a little) over the next couple of weeks before deciding what his next move is. The days are ticking down and we are looking ahead to the musicians who will be doing good things next year. I have heard a lot of really great artists who have the mannerisms, ability and sight to reach the upper echelons and mingle alongside this year’s very finest. I have heard so many average acts come along and there are precious few that pull you in and overwhelm the senses. Lewis Fieldhouse is one such artist; someone who has a lot more left to say. He may be one of the standouts from the capital’s musicians. When it comes to musicians that provide a unique blend of travelogue-cum-characterful lyrics, gorgeous vocals and detailed compositions…

LET’S hope he isn’t the last!

https://play.spotify.com/track/2utNLDsPCktduEK4Bn9DXq

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Follow Lewis Fieldhouse

 

PHOTO CREDIT: Ray Roberts

Official:

http://www.lewisfieldhouse.com/

Facebook:

https://www.facebook.com/lewisfieldhousemusic/?fref=ts

Twitter:

https://twitter.com/lewisfieldhouse

Instagram:

https://www.instagram.com/lewisfieldhouse/

SoundCloud:

https://soundcloud.com/lewisfieldhouse

YouTube:

https://www.youtube.com/c/lewisfieldhouse

FEATURE: Album of the Year: Billie Marten – Writing of Blues and Yellows

FEATURE:

 

Album of the Year:

  

Billie Marten – Writing of Blues and Yellows

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THOSE keenly observing might have noticed one name appearing on my blog…

PHOTO CREDIT: Harvey Pearson

the last few months. I am not sure what the plans of Billie Marten are in 2017 but one suspects it will be a combination of studies – she still has to balance academia and music – and working on new material. I know Marten has just stepped into the studio with Scott Quinn (not sure what the result will be: likely to be magic and marvellous) but one suspects there will be E.P./album/possible songs arriving. Billie Marten is an artist that does not have recording deadlines and demands from record labels – like U.S. giants being pressured by the bosses to get an album out by a certain date.

She is a seventeen-year-old comfortable being by herself and writing when the mood strikes her - creating music when the time is right and it is not being forced.

It is, because of that, I was so awed by her debut cut: the hugely nuanced and beautiful Writing of Blues and Yellows. It might seem like a subjective choice – going against the popular opinion of tastemakers and poll-conducting sites – but there are good reasons for it. When I reviewed the album for The Metropolist (http://www.themetropolist.com/music/album-reviews/album-review-billie-marten-writing-blues-yellows/) I was not only one of the first allowed access to the album – I was struck by someone who was compared to many but sounds like nobody else. The invariable Laura Marling comparisons came in, I have been putting names like Kate Bush, Eva Cassidy and Nick Cave in the same sentence, but the Ripon girl is very much her own singer. Most critics, when it comes to their favourite album, have been seduced by Beyoncé’s Lemonade; some go for Solange – everyone from David Bowie, Frank Ocean and Chance the Rapper topping other end-of-year lists. I agree Beyoncé’s career-defining album is a superb work – few can refute the dominating performances, immense passion and sense of command from the U.S. legend. It is, in my view, a top-ten worthy inclusion but not my number one pick. The fact NONE (maybe some will come through) of the polls I have seen included Writing of Blues and Yellows in their list is a bit of a shock.

https://play.spotify.com/track/3IqSUhhlnTjWfbahlMxvKP

Marten may be young (and at the debut album stage) but inferior albums have been making it into top ten/fifty lists. For me, it is the consistency and nuance that really grabs me. I know ‘nuance’ seems to be my buzz word but I do not speak that word lightly or without knowledge. There are few albums that are as revealing and gets-better-each-time-you-hear-it as Writing of Blues and Yellows. When I reviewed it (for The Metropolist) I, rather stupidly, considered Emily a track that sounds too much like others – perhaps it could have sat a bit further down the album. It was only a few weeks later its true power, beauty and potential were unveiled. That song was pipped by Radiohead’s Burn the Witch in terms of my favourite songs from 2016: other tracks from Marten’s album could make their way into the same list (Green, Teeth and Untitled among them). Emily is a song that continues to amaze: not just because of the potent and majestic vocal performance but the mature and rich songwriting. One of the few tracks on the album without any other writing contribution: it is Marten at her most singular, focused and ambitious. Building, layering electric guitars; swelling, heart-aching strings and ghostly, lost-in-the-wind vocal interjections made it but eerie and spellbinding.

[youtube https://www.youtube.com/watch?v=zy6e1D4yDEQ&w=560&h=315]

It is not just Emily that captured my heart but quite a few – pretty much all – tracks on the album. Heavy Weather remains my standout because of its unbeatable chorus and stunning imagery; La Lune is a song unlike any other: Green one of the more spright and energised performances on the record – even if its lyrics project anxiety and self-doubt. It’s  a Fine Day – one reviewer was foolish enough to label it pointless and expendable – shows how gripping Marten is when reducing technology to its bare bones – recorded on an app. one day as her dad mowed the lawn. Teeth is an honest and gut-wrenching testament from a young woman who lies through her teeth in order to keep the façade strong: she is suffering inside but does not want to let the world know.

I have stated Marten is beyond easy comparisons but naming her among her idols, even at these early junctions, is not rash.

Teeth, Untitled and Bird have various shades of Nick Drake – a combination of Bryter Layter and Pink Moon sounds – whereas Emily is a Marling-esque gem; Kate Bush and Joni Mitchell’s spirit can be detected in some of the vocal deliveries – bits of John Martyn in the finger-picking and authoritative acoustic stylings.

https://play.spotify.com/track/6li7eXyxXMOlXjc4ckoc1f

I have a lot of respect for other sites/magazine and the determinations they have made. I am not suggesting they should have Marten’s debut at the top of their lists: it is worthy of a place in their favourite twenty at the very least – in the top fifty, one would think?! Maybe Writing of Blues and Yellows is an album that will take a few more months before its true class and powers are realised; perhaps there is a leaning towards certain genres/types of music. Given the political unrest and mortality turbulence of this year – the passing of some music icons and racially-motivated, disturbing political decisions of ‘the people’ – musicians that tackle these concerns and provide escape are being celebrated. Marten’s future, as I started out by saying, is very much ahead of her – in the sense the best days are going to come in the next couple of years. Not to bring Laura Marling back into play but look at her trajectory: with each album new confidence and quality; a musician that grows stronger with each release and is one of the finest songwriters on the planet. If Marten keeps her passion and focus strong she could not only be producing a lot more albums but gain the same acclaim and reputation as a certain L.M.

As it stands, Writing of Blues and Yellows is not just an original, accomplished and gorgeous album from a bright and lovable songwriter: it emanates from someone unfazed and unaffected by the trappings of success; someone pure, honest and down-to-Earth.

One imagines Billie Marten ensconced in a quiet nook: pen in hand and mind adrift; conspiring and imagining the next song; lost in her own world and prisoner to the tease of thought and language.

[youtube https://www.youtube.com/watch?v=_oD9hGnZqgw&w=560&h=315]

All this is evident on her debut album and is the fuel that will continue to burn strong and hard into 2017. After releasing a cover of White Christmas (available across Spotify and SoundCloud) she will be enjoying Christmas and taking some time to recharge and relax. When 2017 kicks into view, one imagines she will be looking ahead. Whether that is gigs in France and a new E.P.; studying and a few new songs or a fully-fledged campaign to get a sophomore album out I am not sure. Whatever it is will be exciting and wonderful. Many argue an album like Lemonade or The Life of Pablo (Kanye West) addresses modern desires and provides relief, release and guidance. I argue, conversely and at the other end of the emotional spectrum, an album such as Writing of Blues and Yellows should receive equal acclaim, demand and attention. It is gentle, tender and thought-provoking; comforting, brave and soul-nourishing. Even if it did not crack your list of best albums this year: at the very least it should be afforded a chance to shine and reveal…

PHOTO CREDIT: Harvey Pearson

ALL of its wonderful beauty and power.

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Follow Billie Marten:

PHOTO CREDIT: Danny Payne

http://www.billiemarten.com/

Writing of Blues and Yellows can be purchased here:

https://itunes.apple.com/gb/album/writing-of-blues-and-yellows/id1133221077

TRACK REVIEW: Yearbook - Faster, But Slow

TRACK REVIEW:

 

Yearbook

 

 

Faster, But Slow

9.6/10

Faster, But Slow is available at:

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

RELEASED: 1^st December, 2016

GENRES: Alternative-Rock

ORIGIN:

Hampshire, U.K.

The album, I Stop Somewhere Waiting for You, can be purchased here:

https://musicglue.com/yearbook/

RELEASED:

2nd December, 2016

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THIS is a review tinged with a bittersweet taste…

Not only is this, I Stop Somewhere Waiting for You, the first album from Yearbook – it will, effectively, be the last – as the band are looking to part. Before I get to the band and focus on one of the songs from the album, I wanted to look at bands and those that have made an impact this last year; the nature of the music industry in general and the importance of differentiating yourself from the crowd. Thinking about the Hampshire formed/based group has got me wondering about all the great new acts I have heard this year. As I have stated in (many) previous reviews: it seems this year has been dominated by solo artists and their albums. I defy you to open up a list of the ‘Best Albums of 2016’ and count how many band-created records are on there. I am willing to wager the majority of inclusions will be from solo artists. That is not to say bands are obsolete: it seems there is a leaning towards solo acts and what they are producing. Perhaps not surprising given the way music is developing. There seem to be more solo artists emerging and it is only natural they should be represented. Whereas your lone act has to shoulder the duties of myself by themselves; the band has a few members to share responsibilities. That said, the reasons why solo artists stop making music is often different to that of a band – I will touch on that more in a minute. I have loved reviewing all sorts of artists from the last twelve months and have been pleased by the great bands coming through. Even if poll-makers are preferring the sounds of the solo market, there are those fully engaged with the hottest and more resonating bands in the land. After all, the major festivals in this country rely on bands to headline their stages – that is the main reason people go to them. If the ‘mainstream’ festivals like Reading and Leeds have, rather predictably/boringly, chosen Muse to be their first headliners for 2017 – almost as obvious and uninspired as asking Foo Fighters to do it – then the lesser-known stages are going to be hosting some of our most promising young bands.

I mention this topic, not as an aside, but a relevant point pertaining to the Yearbook boys. Andrew Ian Halloway, Hamish Dickinson; Thomas Brooker and Louis Martin are the noble foursome that provides Yearbook its memories, colour and immense passion. I hope, were their current album to be the last recorded material as a group, they would at least consider a farewell festival. I know, as I will explain in the conclusion, a couple of dates set aside – it would be a tragedy to think they’d miss out on one or two summer dates next year. The boys have been playing together for a while now and in that time have cemented themselves as one of the most striking and immediate bands in the country. I have reviewed a lot of bands this year – few stick in the mind quite like the quartet. Being a fan of their Old Bones E.P. – which felt like digging up the past and surveying past memories – then their album is a documentation of the here and now. It is the freshest, most complete and stunning work produced: hard to think such a body of work could originate from a group on the verge of dissolution. Whilst it is sad to reflect on their premature departure; it provides one a moment to look at music and the challenges faced. It is true, modern music is defined by huge demands and a rather Herculean set of obstacles – tasks and practicalities one must navigate and conquer in order to succeed. I have seen too many great bands call time the last couple of years and it always creates the same impression: why is more not done to provide support to musicians? This is a question I posed in my last review and seems to hold firm in my consciousness. I have not quizzed the boys about the reason for their break-up but it seems to be, from a rather far-off vantage point, a mutual decision – free from acrimony and spite. In fact, the boys have just (if they’re not still there now), completed a tour of Europe and had a bit of a ball – including a rather misjudged/conversation-provoking status updated posted on Brooker’s Facebook page but a “funny” – read: I’m going to kick his arse – bandmate a few days ago. There is revelry and brotherhood in the ranks so it seems – and I will have to ask why they are calling time – there are other reasons why Yearbook are moving onto pastures new separately. Their band name reminds me of leaving school and having to go in different directions minus the friends formed and cherished at school – that fear and unhappiness that comes with facing a rather adult truth. Perhaps there is an issue with finance and demand; maybe the boys have different creative ideas or some members are less enamoured of the band life than they once were. I would not be labouring the point so fervently was I not so awed by the boys’ music and potential. When Old Bones arrived, I was certain the group would ascend to the peak of the new music mountain: future festival kings and those likely to be dropping into the studios of ‘6 Music to play a session for Steve Lamacq or Lauren Laverne. Alas, that is not to be, so it provokes a question in my mind: why are so many talented bands splitting up? Maybe there are ‘too many’ musicians coming through which can make it hard to A) get necessary gigs and regular spots and B) stand aside and persist. Yearbook has cemented a furious local following and a deep well of fans across Europe; they would have had the potential to transcend to the U.S. and take their music global. I just feel, in relation to them, there was so much they could have done and territory they could have carved. Today, and with the groundswell of new bodies emerging, it is harder to balance the realities of workaday life with the ambitions of being a musician. Venues are closing – and those well-established finding their foundations cracking – so it is with turbulence and uncertainty musicians are playing these days. Of course, this might be rendered moot were the explanation (behind the band’s end) to be something simple or unavoidable.

Whilst we mourn and debate the domesticity reality and capricious fate of modern music, we should never ignore the band in question and how they got to where they are now. So many bands are beholden to the legacy and sound of some rather obvious sources – Foo Fighters and Arctic Monkeys still the appetiser of choice for many young upstarts. Seeing how certain bands have climbed onto the festival circuit the natural instinct, of many bands, is to copy their sound in the hope of reciprocal attention. I have grown weary of the rather middling and spineless Indie bands whose subject book is filled with heartbroken clichés and clever-clever attempts at Turner-esque witticism. You know the kinds I am referring to: the clean-shaven lads with faux-attitude and the same sort of lines, impressions and snarl as Turner; guitars, bass and drum that are dedicated but hardly stand aside from the pack. Again, there are many that want to copycat the hirsute and chunky riffs of Dave Grohl’s gang: throwing together a collection of sub-Foo’ sounds with little imagination provided to originality and legitimacy. Those acts that have the intelligence, fortitude and ability to stamp out something unique and special should not be ignored. I feel too many of the former – the forgers and lazy – and being presented golden tickets and unwarranted airplay whereas the brave and strong are fighting too hard and becoming fatigued; tired having to get their voices heard above the parapet of the beige and average. Yearbook have a bit of Alternative and Rock but they incorporate so many different sounds and sub-genres into their psychotropic potions. The lads can muster up a Molotov cocktail of gnarly strings and bellicose beats; soul-infusing basslines and the sort of commanding vocals reserved for the most-celebrated bands around. Chuck in lyrics that rarely succumb to predictability, and are imbued with humour, savviness and literary intellect, and here is a band with all the components needed to triumph in the warfare of music. Alas, my protestations and supplications seem bereft of hope as Yearbook will be closing the doors and going their individual ways in a matter of weeks. It is sad to see such a strong and fine band separate but these things do happen. Against the 2016-appropriate sadness and tragedy we must not dwell on the negativities but celebrate the positives and goodness the band have left us. In terms of progeny: there are few finer than their L.P., I Stop Somewhere Waiting for You. The title alone beckons all sort of imaginative interpretations and speculation. The music, as I will explore in more depth, is as ripe, stunning and nuanced as you’d expect from the band. If this is, as it seems to be, their final statement: it is one hell of a legacy to leave.

Old Bones was rife with great tunes and promising moments but I feel the band have upped their game and created their finest work in I Stop Somewhere Waiting for You. I am sure they will admit the album is important and their best work yet. Old Bones is an amazing work and hard to believe it emanated from a band so young. In each song you hear so much detail and exceptional musicianship. More creative and inspired than their peers: this is emphasised through their debut album. In the eleven songs, the guys run through a variety of themes and concerns: each song sees them up the ante and turn the volume up. The band is not just noise-makers only concerned with force and aggression. They are a group who provide texture, beauty and refinement – counterbalancing the more assiduous fire and ensuring their songs are rife with nuance. That is something a lot of bands lack: the ingredient and kick that keeps the listener coming back for more; discovering each song in a new light and talking something new away. If I Stop Somewhere Waiting for You is to be the final thing we hear from the band then it is amazing finale. Let’s hope, somewhere down the line, they reunite and produce an E.P. at least. As they have shown, they grow stronger and more determined with each new release. It makes their album, not only an essential purchase, but a work that fully represents and defines what they are as an act.

Faster, But Slow is another catchy and intriguing title that warrants fond investigation. There are contradictions and quasi-philosophical impressions laid in the opening seconds of the song. It is a rather far-off and echoed introduction that sees the lead down in the mix and singing from a distant realm. Representing that feeling of confusion and dislocation: one imagines a confined vocal booth with very little space and light; such is the nature of the vocal performance. In terms of lyrics, we hear about life and death; defeat and success. The hero is, conversely, omnipresent and extinguished – almost like Schrödinger's cat – and provokes some rather vivid interpretations. It seems like something has caused this rather defeatist and somber mood. True, there is no overt cynicism and anger at the start: more a series of ponderings and oblique statements. Whether a romantic ruction has caused this or just a look at life around him: the listener is left wondering the genesis of the song. The band keeps the composition rather clean and causal as they score their companion in his quest. Mortality and ageing are subjects that have been addressed in previous Yearbook work – Old Bones’ archeological nominal provokes images of fossils and growing old – but here you get the most arresting assessment of the subject. The hero is growing old and his face can be seen in everyone around – also growing old and starting to slow down. It seems odd a bunch of twenty/thirty-something musicians should tease such a subject. Such thoughts are usually reserved for more ‘mature’ musicians of a different generation. I guess it is just the weight and imbalance of life that does mandate one thinks like that. Whereas other tracks across the album go in fast and burst from the lines: here, there is slow-burning smoke and a moodiness that is hard to shake. It is foggy and open; echoed and strange – all the components that sow seeds of curiosity and get the imagination and body prepared. Being a Yearbook song, there was never a doubt a volume shift would occur somewhere down the line. As it stands, that does not arrive until relatively late. In the opening moments, you get invested in the lyrics and the rather downbeat sound of the hero. One can interpret the song as an insight into the band’s mentality.

Some of the words can be attributed to their situation and what their mindset was like when recording. We often get carried away with interpretations of a song – look at issues of mortality when an artist has just died – and that can cloud the truth and individual feelings. It is interesting to note but you can apply some of Faster, But Slow’s revelations to the cracking façade of Yearbook. Whilst gilded and bonded in blood: the band knew they were going to come to an end and that must have weighed heavy. In other realms, one hears a young man growing older and seeing a world not as rosy-cheeked and innocent as it used to be. Given the growing threats and uncertainties around the globe; how many of us are as secure and safe as we once were? Maybe this is the truth of the matter but that is the beauty of the song: nothing is that obvious so one can scurry down all manner of different-sized rabbit holes looking for Wonderland. The band themselves have that knowledge but the listener is free to interpret. Just as you get comfortable in your thoughts and await the next verse: the band unleashes a Tyrannosaurus Rex – or Pachycephalosaurus maybe – that is stalking through the undergrowth and baying for a tiny little entrée. There is echo and reverb; there is an eerie silence and snarling guitars aplenty. You wonder what is coming next although you kind of realise the seduction and foreplay is done with. It is unprecedented just how exploding and bridled the revelation is. The staccato stabs and guttural bellows are greeted with multi-limbed percussion and insane bass work. The band step up to the plate and create a Mosher Symphony: a perfect soundtrack for those on-edge pit-dwellers to get their bodies flailing and their beer flying. I can imagine, when this is played live, there are some head nods and refinement from the crowds up until this point: that changes to an insatiable and floor-pounding stampede when those first guitar notes strike. By the end – providing you have not moshed across the room and lost yourself completely – there is more feedback at the end. The song has completed and the band are letting the instruments echo and buzz; giving just a little bit of reality and live presence to their songs. Whether, when/if this song is played in Brighton, instruments will be intact at the very end is hard to say. It is a song that provokes guitar-smashing defiance and like-minded rebellion from the capacity crowds. Faster, But Slow does what it says on the proverbial and delivers a jaw-smacking, body-juddering burst of heat and alcohol. It is drenched to the skin in flammable liquid before willingly lighting the match and racing around like a mobile barbeque. The hibachi-like nature of the song means it might take a few minutes before you embark on another listen. Anything thinking such a direct song lacks nuance will be sorely disappointed. It is a song of two halves and one that very much appeals to the senses as it does to the body. A perfect lead-off single from the album and perfect opener for I Stop Somewhere Waiting for You. The boys carpet-bomb the landscape and ensure every dwelling and citizen is immolated and crisp. You are helpless to resist the sheer force and pummel of the outpouring. The band show how tight and together they are. No performer misses a beat and you get a blitzkrieg of emotion and physicality. Faster, But Slow is, on reflection, just as advertised. Less a title for huge interpretation it is a spoiler and dynamic description. It starts slow and shows maturity and depth before downing some shots and deciding to destroy every stool and awning in the joint!

Before I wrap up – revisiting the points I made at the top of the review – it is prudent mentioning the merits of I Stop Somewhere Waiting for You. The Unreasonable Man, with its hero “washed away by the rain”, is a start-stop, quiet-loud beast that takes you by surprise and delivers a granite punch to the gut. It is one of the most rapturous and rollercoaster-like songs in the band’s cannon and instilled with gunpowder, blood and focus. I can hear the sweat flying from the walls and the unbreakable intuition and bond the boys share. It goes into a song, and the entire album, with effusiveness and undeniable authority. A majestic and festival-ready song that boasts one of the strongest vocals on the set – sad the song might not get an airing at a large venue. That said, the guys have played in Europe and I hope the track has been getting an airing out there. “That is not enough for me” is a niggling mantra running rampant through Holy Trinity. It is here you get more experimentation from the guys: the percussion and guitars seem more alive and rebellious; there are effects and fantastic little moments abound; a strong core and huge chorus that demands crowd unity and endless singalongs. A fiery and cracking mandate from a group completely in the groove – another album highlight that will see you replaying the song time again. All Dead provides, at first, more melodic and tranquil reflection. There is almost a contemplative element to the opening – and a rare appearance of female backing vocals – that marries beauty, tenderness and confusion in a strange and wonderful ménage à trois. Before long you get that rapture and primal scream from the lead; on the Yearbook Rorschach Test you wonder what has caused such furious discontent. There are loneliness and disconnections; a feeling of injustice and fear – deciphering and unpicking its origins is a fascinating task. One gets covered by a tidal wave of sound and irascible anger; a band that step up to the plate and provide their lead plenty of thunder, avalanche and electricity.

Only Love is one of the most real and conversational songs on the album. Stepping outside (“for the first time”) there is some confusion and questions being posed. Finding out what the hell is going on and what this is about: the hero implores with the girl not to listen to him; there seems to be some romantic disenfranchisement and strain. It is almost like a gritty and real episode of Made in Chelsea – minus the setup emotions and needlessly beautiful cinematography. The Yearbook boys can present relationship dilemmas and fraught emotions and concentrate it in a song that appeals for a number of reasons. Whilst it is another commanding and domineering band performance; the guitars stand out here. At once sterling, driving and gliding: they turn into bouncing, swaggering animals that register high on the fuc*-yeah-o-meter. This, like a couple of other tracks, seems destined for wider airing and one, I hope, will get a showing at their gig at Brighton’s Green Door Store. Wild Machine puts the focus on percussion and is almost Electronic/Electro.-Pop at times – reminding me of ‘80s Synth.-Pop and acts like New Order. The guys keep the electronic histrionics in the locker whilst the percussion and keys. As the foreground builds – and recriminations and self-doubt come in – that parabond of synths./keys and percussive hiss grows larger and more scintillating. Whilst Wild Machine seems dystopian and Lynchian in its manner and composition; the song has redemption and hopes against the tide. “Holding on” against the machine is the takeaway vibe: that central message that is the heartbeat inside the mechanism. That mechanical embodiment is represented by clanging pots and off-key metal; tender notes and all manner of surprises. The half-time substitution is a riot of hurricane guitars and percussion – rampant with impunity, indiscretion and engrossing ferocity. Props must be paid to the band who subvert expectations and deliver an amp-busting orgy that catches the breath and overwhelms the senses.

The Great Destroyer was never going to be a Keane-esque piano ballad. As it is, it’s a divine swansong from Yearbook. Starting strong, but never too hot and intense, the track starts to build and show signs of impending cacophony. A brief interlude of Funk – bit of slap bass on the side, perhaps – has a Red Hot Chili Peppers vibe; that evolves into a stringently austere and imperious delivery that blows away any romance and clouds – a stunning and angered vocal that gets into the mind. Not only does the song bounce around the brain (like an ill-mannered and impudent child) it staples itself to the testicles. I am not sure what the lads have in mind for their final set list – I can see The Great Destroyer being a set-closing grandstand; one that will get the moshing crowds, even more spirited and unified. It is a song that switches between harmony – some delicious multi-part harmonies – and utter chaos. It is a nose-bleeding fighter that screams (literally) its name and demands respect. A wonderful and epic way to end the album.  I Stop Somewhere Waiting for You is a spectacular, surprising and complete album from a band that sound at their very peak. Maybe, knowing the end was nigh, they threw it all into the blender but one suspects the decision to split arrived during recording – maybe I am wrong. You would not be able to tell here was a band considering ending their partnership. The songs are so urgent, together and focused: like a band who had been performing for years and had more ahead of them. I have selected a few to review but the truth is there are eleven gems to be discovered. No players steal the limelight; no player is anything less than incredible and indispensable. At times, the guitars and bass seem peerless whereas the vocals are always dramatic, full-bodied and utterly commanding. Percussion is the heartbeat and backbone that drives the song and gives the album is guts and raw edge. The songwriting is stronger than Old Bones and a step up from their E.P. Here, there is less reflection and more direction; much more confidence and range from a band that could never be accused of being average and sound-alike. They started off on very solid foundations but have built a veritable People’s Palace here. Unlike the Romanian one; the British bands have crafted something imperialistic but socialist – oh f*ck it, I’ll dispense with imagery and metaphor. The album is immense and amazing and a record that ends 2016 with a huge high. Totemic and beautiful at times; carnivorous and violent the next – how many albums can boast these sort of dichotomies and emotions?

The band plays Brighton’s Green Door Store on 22^nd. It will be a pre-Christmas present that is unwelcomed as a pair of grey socks. Nobody wants to consider the band splitting up but in a way it is the perfect venue to end things – for now at least. You can never truly close the door on music, and as many legendary acts have shown, the lure of demand is too heady at times. Whether Yearbook does a Libertines/Stone Roses act and re-ignite the spark years down the line; it will be fascinating to see where the members head in the meantime. I Stop Somewhere Waiting for You is a perfect goodbye and album that shows just what music will be missing – a veritable vacuum that others will struggle to fill. The Yearbook story has been one of anger and stress at times; happiness and unbridled liberation with some rather unforgettable memories put it. They have a scrapbook they can proudly look back on and have, whether they realise it or not, inspired other bands to follow in their wake. There are few bands as original, emphatic and popular as Yearbook so I can predict a few like-minded souls entering music in the next year or so. 2016 has been a pretty crap one for a lot of reasons: Yearbook announcing their split//hiatus can be added to the list. It is like Death has got bored this year and decided he is a bit cheery: discriminately picking off the finest out there; ensuring there is unhappiness all around. Let’s not end things with a tragic reflection on a band’s end but celebrate a marvellous album that ranks alongside my favourite of this year. Faster, But Slow is the highlight (in my view) but there are many more (songs) like it across the album. Bands have been getting rather muted acclaim this year but I feel that will change in 2017. Few real and genuine groups have emerged which might be part of the problem. The likes of Yearbook show there is spirit, invention and promise in the market and that is a good thing. Yearbook is composed of multi-talented musicians so I am sure each member will find success in other groups – or go solo should they fancy that life. Being based in Hampshire/Surrey/East Sussex; they are in the middle of creative hubs that will provide chances for them to perform and grow. I cannot wait to see where they each head in 2017. In fact, I am sure the guys will perform again, but for now, this is them and this has been I Stop Somewhere Waiting for You. It is a jam-packed stocking of treats that will not only delight their existing fan-base but entice and allure new followers to their ranks. If you can make the Green Door Store gig, then you will be in for a treat I am sure. It will be emotion, no doubt, but with such fine and enduring songs in their arsenal, it is also going to be…

A night where incredible memories will be made.

[youtube https://www.youtube.com/watch?v=cgu_QqNopAA&w=560&h=315]

_____________________

Follow Yearbook

 

Official:

http://www.yearbook.band/

Facebook:

https://www.facebook.com/yearbookofficial/

Twitter:

https://twitter.com/yearbookband

SoundCloud:

https://soundcloud.com/yearbook-1

YouTube:

https://www.youtube.com/channel/UCOYb5j_VIBCgMh9ggJYBfng

FEATURE: The December Playlist: 'The Best and the Rest'

FEATURE:

 

The December Playlist: 'The Best and the Rest'

__________________

I have resisted the temptation to launch into...

a full-blown Christmas selection. True, there are a couple of Christmas covers in the list but the idea was to lay out the new tracks – either from new albums or standalone – and the best songs of 2016. I have unified the songs that, for me, were the best from this year; those that have had a particularly profound effect. I am looking ahead to next year but there is still plenty of opportunities for great music to arrive. It is hard to say what the next couple of weeks hold but there are sure to be some fantastic tracks. Keep your eyes peeled and be aware of that. For now, it is time to look at the best songs from this week and those that have defined this year in music.

________________

 

Katie Melua – Oh Holy Night

[youtube https://www.youtube.com/watch?v=_-cbbiIidFE&w=560&h=315]

Billie Marten – White Christmas

https://play.spotify.com/track/6E6OI395lJ3uQnz9w8bqTD

Reggie N Bollie – Link Up

[youtube https://www.youtube.com/watch?v=DjC0xeZDlZ8&w=560&h=315]

Circa Waves – Wake Up

[youtube https://www.youtube.com/watch?v=Wk6ALqQLits&w=560&h=315]

Dec 99^th – Tall Sleeves

[youtube https://www.youtube.com/watch?v=n-eUUYASs0Y&w=560&h=315]

Toothless – Sisyphus

[youtube https://www.youtube.com/watch?v=Z8b2mekAWWI&w=560&h=315]

Hodgy – Barbell

[youtube https://www.youtube.com/watch?v=TZb2Gw01tp4&w=560&h=315]

Crystal Fairy – Chiseler

https://play.spotify.com/track/4Kditv9rPRZmbWfJxDmzAO

Tom Odell – Silhouette

[youtube https://www.youtube.com/watch?v=zIDPPzCT4Ew&w=560&h=315]

G-Eazy – Vengeance on My Mind

[youtube https://www.youtube.com/watch?v=S3p6GQxnspw&w=560&h=315]

At the Drive-In – Governed by Contagions

[youtube https://www.youtube.com/watch?v=1-NYWzd7JW8&w=560&h=315]

J. Cole – False Prophets

[youtube https://www.youtube.com/watch?v=wvFDXV0VBg4&w=560&h=315]

Jax Jones (ft. RAYE) - You Don't Know Me

[youtube https://www.youtube.com/watch?v=PKB4cioGs98&w=560&h=315]

Neil Young – Indian Givers

[youtube https://www.youtube.com/watch?v=CM-NkM-dIDA&w=560&h=315]

Laura Mvula – Ready or Not

[youtube https://www.youtube.com/watch?v=PICk3EvKZBc&w=560&h=315]

Rebecca Ferguson – Superwoman

[youtube https://www.youtube.com/watch?v=hMoU5W5YDXY&w=560&h=315]

Afrojack (ft. Ty Dolla $ign) - Gone

[youtube https://www.youtube.com/watch?v=_on54HMZswI&w=560&h=315]

Kyla La Grange – Justify

[youtube https://www.youtube.com/watch?v=pBkJAzzLB4A&w=560&h=315]

Mahalia – Independence Day #DiaryofMe

[youtube https://www.youtube.com/watch?v=aJrTkAPRy5Y&w=560&h=315]

Jamie T – Tescoland

[youtube https://www.youtube.com/watch?v=VAOORzCqRa4&w=560&h=315]

Post Malone – Stoney

[youtube https://www.youtube.com/watch?v=vKnnxbciA1I&w=560&h=315]

Sara Hartman – From the Other Side of the World

[youtube https://www.youtube.com/watch?v=cV1RGpeZhww&w=560&h=315]

DJ Fresh vs. Diplo (ft. R City, Selah Sure and Craig David) – Like a Star

[youtube https://www.youtube.com/watch?v=pF2YgLEso10&w=560&h=315]

G.R.L. – Are We Good?

[youtube https://www.youtube.com/watch?v=3LDfxkqwr1I&w=560&h=315]

Izzy Bizu – Talking to You

[youtube https://www.youtube.com/watch?v=t1tYtNlcBOY&w=560&h=315]

Little Cub – My Nature

[youtube https://www.youtube.com/watch?v=Y6Vc6UfsJ9U&w=560&h=315]

Liam Bailey – Love My Neighbour

[youtube https://www.youtube.com/watch?v=SkNJfEUO4bQ&w=560&h=315]

Nadia Rose (ft. Red Rat) – Tight Up

https://play.spotify.com/album/4atPUp52kt5lL8tKZcwFmx

 

Julia Jacklin – Coming of Age

[youtube https://www.youtube.com/watch?v=WkF_d3f2MJo&w=560&h=315]

Radiohead – Burn the Witch

[youtube https://www.youtube.com/watch?v=yI2oS2hoL0k&w=560&h=315]

Billie Marten – Emily

https://play.spotify.com/track/3IqSUhhlnTjWfbahlMxvKP

Warpaint  - New Song

[youtube https://www.youtube.com/watch?v=_PhAMlJDMeI&w=560&h=315]

M83 (ft. Mai Lan) – Go!

[youtube https://www.youtube.com/watch?v=U3YZTYXftzg&w=560&h=315]

The Stone Roses – All for One

[youtube https://www.youtube.com/watch?v=dAPUfAKpBwI&w=560&h=315]

Bat for Lashes – Sunday Love

[youtube https://www.youtube.com/watch?v=pBfZooPrmfo&w=560&h=315]

Beyoncé – Formation

[youtube https://www.youtube.com/watch?v=xjiwRbAABso&w=560&h=315]

David Bowie – Blackstar

[youtube https://www.youtube.com/watch?v=kszLwBaC4Sw&w=560&h=315]

Anohni – Drone Bomb Me

[youtube https://www.youtube.com/watch?v=aUEoic7ro_o&w=560&h=315]

Skepta – Man

[youtube https://www.youtube.com/watch?v=sOhxPhqzMwg&w=560&h=315]

Christine and the Queens – Tilted

[youtube https://www.youtube.com/watch?v=9RBzsjga73s&w=560&h=315]

Slaves (ft. Mike D) – Consume or Be Consumed

[youtube https://www.youtube.com/watch?v=05Q5akU8d7g&w=560&h=315]

Charli XCX (feat. Lil Yachty) - After the Afterparty

[youtube https://www.youtube.com/watch?v=OM33anTtEVE&w=560&h=315]

Jamie T – Tinfoil Boy

[youtube https://www.youtube.com/watch?v=TElBPcFIk0E&w=560&h=315]

Liv Dawson – Tapestry

[youtube https://www.youtube.com/watch?v=tklMdjQU7qk&w=560&h=315]

Laura Marling – Soothing

[youtube https://www.youtube.com/watch?v=eCS4OTgaHeM&w=560&h=315]

Rihanna (ft. Drake) – Work

[youtube https://www.youtube.com/watch?v=HL1UzIK-flA&w=560&h=315]

Michael Kiwanuka – Love & Hate

[youtube https://www.youtube.com/watch?v=AZzA2Ne0HSo&w=560&h=315]

Sia – Alive

[youtube https://www.youtube.com/watch?v=t2NgsJrrAyM&w=560&h=315]

Kanye West – Famous

[youtube https://www.youtube.com/watch?v=p7FCgw_GlWc&w=560&h=315]

M.I.A. – Borders

[youtube https://www.youtube.com/watch?v=r-Nw7HbaeWY&w=560&h=315]

The Wytches – C-Side

[youtube https://www.youtube.com/watch?v=I_BixyTrY7o&w=560&h=315]

Dua Lipa – Hotter Than Hell

[youtube https://www.youtube.com/watch?v=fEOyePhElr4&w=560&h=315]

Underworld – I Exhale

[youtube https://www.youtube.com/watch?v=4izZYfo58-E&w=560&h=315]

Car Seat Headrest - Drunk Drivers/Killer Whales

[youtube https://www.youtube.com/watch?v=ccztRby3FAk&w=560&h=315]

Paul Simon – Wristband

[youtube https://www.youtube.com/watch?v=9lJHVpH5v8Q&w=560&h=315]

Tegan and Sara – Boyfriend

[youtube https://www.youtube.com/watch?v=HJOHoiPGpac&w=560&h=315]

Leonard Cohen - You Want It Darker

[youtube https://www.youtube.com/watch?v=v0nmHymgM7Y&w=560&h=315]

Emeli Sandé – Hurts

[youtube https://www.youtube.com/watch?v=9TqUlGyWSEk&w=560&h=315]

Frank Ocean – Pink + White

https://play.spotify.com/track/3xKsf9qdS1CyvXSMEid6g8

James Blake – Radio Silence

[youtube https://www.youtube.com/watch?v=TTglDb7qjvQ&w=560&h=315]

Bon Iver – 33 “God”

[youtube https://www.youtube.com/watch?v=6C5sB6AqJkM&w=560&h=315]

A Tribe Called Quest – We the People…

[youtube https://www.youtube.com/watch?v=vO2Su3erRIA&w=560&h=315]

Angel Olsen – Shut Up Kiss Me

[youtube https://www.youtube.com/watch?v=nleRCBhLr3k&w=560&h=315]

Jenny Hval – Female Vampire

[youtube https://www.youtube.com/watch?v=ZVaWc00aZ30&w=560&h=315]

The Avalanches – Subways

[youtube https://www.youtube.com/watch?v=bPIMfOIuEe4&w=560&h=315]

PJ Harvey – The Orange Monkey

[youtube https://www.youtube.com/watch?v=Dw1dj7tPvhc&w=560&h=315]

Kano – New Banger

[youtube https://www.youtube.com/watch?v=Mdto_hFIXAs&w=560&h=315]

Kate Tempest – Don’t Fall In

[youtube https://www.youtube.com/watch?v=-aRxIWgFLpA&w=560&h=315]

Solange – Cranes in the Sky

[youtube https://www.youtube.com/watch?v=S0qrinhNnOM&w=560&h=315]

Iggy Pop – Gardenia

[youtube https://www.youtube.com/watch?v=1m8TmlS20ZA&w=560&h=315]

Nick Cave and the Bad Seeds – Jesus Alone

[youtube https://www.youtube.com/watch?v=9iGxoJnygW8&w=560&h=315]

Fifth Harmony (ft. Ty Dolla $ign) – Work from Home

[youtube https://www.youtube.com/watch?v=5GL9JoH4Sws&w=560&h=315]

Chemical Brothers – C-h-e-m-i-c-a-l

[youtube https://www.youtube.com/watch?v=3yiVDrX6vG0&w=560&h=315]

Justice (ft. Morgan Phalen of Diamond Nights) – Randy

[youtube https://www.youtube.com/watch?v=hw3d9KTYHIE&w=560&h=315]

Glass Animals – Youth

[youtube https://www.youtube.com/watch?v=_ZdsmLgCVdU&w=560&h=315]

Beck – Wow

[youtube https://www.youtube.com/watch?v=pyCkhPTU13w&w=560&h=315]

It is a great time of year not only to look back but look forwards. These last days of 2016 provide us a time to reflect on some wonderful music but predict what 2017 has in store. It is inevitable there’s going to be some cheesy songs making their way into the final Playlist from this year – you have to surrender at some point! Until rationale gives way fully – although there are some wonderful Christmas songs, for sure – it is only right to give this year’s best and brightest fair due. I am sure next year will continue in the same vein this one has ended: strong, determined and hugely exciting.

TRACK REVIEW: Talitha Rise - Invisible Fishing

TRACK REVIEW:

 

Talitha Rise

 

 

Invisible Fishing

 

9.4/10

Invisible Fishing is available at:

https://www.youtube.com/watch?v=4SFuiKifm3g

RELEASED: 1^st October, 2016

GENRES: Folk; Psychedelia; Art-Pop; Progressive-Folk

ORIGIN:

Lewes, U.K.

________________________

WHILST the tastemakers and musical tipsters are collating….

their list of this year’s best albums; there is something niggling at the back of the mind. I have scoured quite a few and a consensus is starting to formulate. At/near the top of most lists is Beyoncé’s Lemonade: other albums from the likes of Chance the Rapper and Solange are getting nods. There are some British acts in these lists but the majority – those lauded and celebrated – are U.S.-based and addressing modern times and concerns. If one looks at the polls you will see a wave of strong, defiant albums in the elite places. That is mirrored in features such as BBC’s tips for 2017. In their eyes, Urban artists are going to be making the loudest noises: those assessing the realities of the nation and what is happening; more relevant and raw than your average chart act. It is nice seeing a shift against predictable bands and rather wet solo artists. I feel political events and social confusion/anger has led to this dynamic shift. Yes, it is encouraging discovering a new breed of songwriter gain respect but that seems to come at the cost of another sector of music. I promised I would not mention her name until 2017 – been exhausting her music the last few months – but a certain B*lli* Ma*ten has had an incredible year: her debut album has been released and shown what a fantastic young proposition she is. Whether you have heard of Billie Marten or not, it brings to mind a concern: how many like-minded artists have been overlooked in this year’s ‘best of’ lists. I was somewhat aghast her album, Writing of Blues and Yellows, was not mentioned in any of the polls magazines/sites have released. Fair, it might not crack the top ten of most sites but the top fifty, surely?! Hmmm. Aside from being my standout of 2016, it has made a huge impact among the public and being taken to heart by stations like ‘6 Music – in their rundown of the year’s best albums I expect to hear it mentioned. Folk is a genre that often gets overlooked – something I have mentioned before but cannot explain why. Before I come to my featured act, and raise a couple of new points, I was to expand on that.

If music fans and the media are favouring a more urgent, arresting and socially conscious brand of music; it is only right something should be done to ensure the preservation of refined, calmer sounds. It is only right the best of the best should be recognised but insufficient acclaim is being provided to the ‘best of the rest’. Having mentioned her-that-shan’t-be-named it brings to mind Folk and its variations. A much more intriguing and enigmatic genre than many give it credit for: listen carefully and you will find musicians pushing boundaries and adding new light to the form. Talitha Rise, who I shall come to very shortly, are archetypes of a new, more progressive brand of Folk. Whether you would label them as purely Folk – or Art-Pop for instance – that is up to personal interpretation. My point is that their basis – earthy and pastoral tones – are augmented by psychedelic elements and all manner of fresh tones and fascinating sounds. I guess it is just a phase music is going through – where different artists are being embraced – but quite a few albums this year, that spills over with quality and promise, have not been given proper recognition. Even if the compositions are not as hip-shaking and body-moving as that: that is not to say there is not immense power and pull to the music. I will continue on this point, looking at artists in East Sussex and new duos, but before I do, it is worth being introduced to Talitha Rise:

“Talitha Rise write songs of undeniable emotional depth and beauty. At times, more akin to a musical landscape than a song, their tracks journey hypnotically through evocative worlds of heart-breaking hope and the rawness of life's deeper realities with ethereal mystique.

Whether recorded or live, the combined alchemy of Jo Beth Young and Martyn Barker grab the listener from the first few notes and plunges them deep into a combination of diverse and haunting vocals, melodical journeys and beautiful instrumentations that makes you wonder where on earth you have been for the last 30 minutes.

It is hard to pin down what genre or influence is behind them: hints of Psychedelia, Art Pop, Progressive Folk, and World Music all shine through but above all they have done something rare in today's musical world....they have created a new one”.

‘Talitha’ is an uncommon feminine name meaning ‘little girl’ in Aramaic; given in reference to the Biblical story in the Gospel of Mark. It is an intriguing origin to a duo who create music instilled with power, tender emotions and gorgeous harmonies. I tend to find, when out of the capital, you get music a lot less busy and loud – that might change with tomorrow’s review subjects – and something rather different. It is rare I get to traverse out of London and investigate musicians from East Sussex. It is a county that contains one of Britain’s most prosperous and eclectic musical cities (Brighton) and not often mentioning in the hallowed pages of music’s coolest press bodies. It is a shame the cities (and obvious areas) get a lot of attention – at the expense of other parts – but it is encouraging seeing acts like Talitha Rise emerge. A more experienced, mature and rounded alternative to the worn and humdrum Pop sounds of the mainstream – you get depth, tranquillity and activity; serenity and intense emotion within the same songs. I mentioned a certain B.M. earlier because her music reminds me a lot of Talitha Rose. Based in Yorkshire – another area providing exceptional musicians – her album was acclaimed and highly praised. Music lovers and commentators want to discover musicians who offer a beautiful and graceful approach to some of the more aggressive and forceful options in the market. Perhaps there is no easy and quick way to ensure music’s finest get appropriate representation and attention – other than having to spend a long time working their way through the ranks. The Lewes-based duo has been performing locally but making a name for themselves in Brighton. That is an area that is still relatively untapped and a burgeoning market for new music. You only need to stick your head around some of the venues there to get a flavour and scene of Brighton’s brew. It is a heady and variegated one: so many different genres and a different approach to music and community. A more relaxed and less suffocated feel than London; perhaps finer new bands than Manchester – worth a lot more time and attention. I am wandering off topic but it is important to recognise not only the full spectrum of musicians around but look beyond media-tipped areas and obvious hotspots. If today’s music scene is to be as evolved and interesting as possible, we must be as broad-minded and invested as possible. This year, and as part of my reviews, I have come into contact with a whole gamut of weird, wonderful and wise artists: many I feel will be stars in the coming years and taking big strides. Talitha Rise is gathering local praise but are more ambitious and hungry than that. It cannot be too long before they get more time and opportunity to play around London and the U.K.; perhaps get their music out to international ears. As it is, East Sussex is quite a convenient and upcoming area for music. The proximity to London is good but there is less of the stress and over-populated rush of the metropolis.

Almost time to get to Talitha Rise’s music, but before I do, a quick glimpse into duos. I know I have rhapsodised prolifically on this subject but will keep this short. Regardless of genre – and how you label the Lewes two – there is no denying the simple chemistry and connection shared. Jo Beth Young and Martyn Barker have that (almost) brother-sister bond and a deep understanding of what each other is about. A duo, in a way, is like a relationship: one that is harmonious, solid and uncomplicated. A band can seem like an unwieldy and undisciplined unit whereas the solo artist can appear solemn and over-worked. In terms of practicality, load-sharing and longevity: the duo has everything and seems like just the right size. Maybe that is too simplistic but I am hearing some fantastic duos spring up and each has something new about them. Not only (is the duo) an exciting proposition but their music, I find, is a lot more intriguing than most of the band-made stuff around. Talitha Rise are just starting out and their debut cut, Invisible Fishing, is the sound of where they are. I always look at a sapling cut and get an impression of what the artist is about. With regards Talitha Rise, it is hard to define them and explain. If you had a band – that had similar ideals – they would perhaps aim for something more commercial and festival-ready; a solo artist perhaps more stripped, restrained and bare. As it is, Talitha Rise blends little bits of Folk and some left-field elements; bits of Psychedelia and gloss it all with sumptuous vocals. I am not sure what they would call this new-found genre (‘New World-Folk’, perhaps?) - however you deem it there are few artists providing anything as detailed and unexpected.

As this is the first step for the intrepid and ambitious act: it is quite hard comparing their single with anything else. The fact they are thinking about an album means there is a lot of faith in their future songs. That is all encouraging as few acts spring that far ahead this early on – favouring E.P.s and covers until a little way down the line. I know, from following the guys, there is a lot of excitement in the camp and hopes for the future. Rather than comparing them with another act or their older material: the best thing to do is assess the debut single (which I shall do shortly) and look ahead to the album. I am not sure what it will be called – whether they favour an eponymous title – but it is likely to contain similar songs to that of Invisible Fishing. I know 2017 holds many opportunities for the duo so make sure you follow them and keep abreast of all the happenings. Their debut single is a strong and emphatic one. Usually, I hear acts that release a debut single and it has nerves and is not their best work. Talitha Rise has gone in so strong and sure; they come across natural – like they have been together for decades – which makes it a solid and stunning song.

You get a sense of metaphor with the first line of Invisible Fishing. Before they arrive, one is treated to gentle strings a rather seductive opening. The acoustic guitar beckons and sets the scene; the song arrives gently and without too much force – the listener is given the chance to soothe themselves in and get comfortable. When the heroine arrives at the microphone, one gets images of lighthouses and searchlights being extinguished. It is open for interpretation whether words are directly attributed to the heroine or whether another subject is being described. There is that sense of lacklustre and hopelessness; maybe looking for love and companionship but having to come away with nothing. The idea lights have been turned off and there is darkness adds to that aura of invisibility and mystery – having to fumble in the waters looking for a catch. It is a clever way to bring the song’s emotions and themes to life: right away you are picturing what the song is about and what is occurring. The vocals from Young have a blend of firm and seductive. She rises into the stratosphere and provides angelic elements but has a grounded and gravelled side too. That is quite a range from a singer one that is exploited throughout the song. If some words get buried in beauty and passion – not always a bad quality – you are able to get a sense of what is unfolding. The narrative definitely becomes third-person and that sense of someone else hanging their line into the waters. That line/rod, in fact, is one that represents fear and trepidation. At once, I was thinking of love and lost chances: that inability to secure romance and searching (aimlessly) for someone. I mentioned metaphors and it seems like Invisible Fishing is that practice of casting the line and getting nothing nibbling. Maybe that is purely about love or just taking chances. The song, in the early stages, opens up so many possibilities and interpretations.

Throughout the song, and backed by the hero’s impeccable and finger-picked support, the heroine sings from the heart and ensures every word rings out. I was looking into the lyrics and picturing a heroine alone – maybe standing on the rocks and looking out to the ocean. Maybe it is not love being sought but some kind of salvation and hope. There is a voice ringing out across the distance but no reply. One gets a sense of dread and suffocation: where questions are going unanswered and there is a degree of loss. I may be over-analysing but I get the impression of someone who has lost love – once pure and solid – and is searching for a new way of life. Maybe this fear, employed as a rod in the water, is holding her back and causing this stress. That openness and free-for-interpretation flair of the song gets the mind racing and puts your thoughts in all sorts of directions. At the heart, you are captivated by the chemistry and bond of Talitha Rise’s two – they have that seamlessness and understanding. I dove into the song and tried to cast my mind into the images. You get gripped by the beauty of the vocals and how the guitar carries you away. The duo has their own talent and roles but very distinct. The musicianship and composition are stunningly evocative and rich: perfectly atmospheric and rife with emotion and nuance. The vocals swoop from low-down and calm to multi-layered and choir-like. You get shades of light and dark and it really adds to the song. As the track continues, the tense switches and applies to people as a whole. Gone is the personal focus; replaced with a look at the world at large. The angels and Muses have abandoned the people and not answering their calls. Maybe Invisible Fishing, by this juncture, looks more at society and what we are facing. Although the song was written a number of months ago, it seems to reflect general fears and anxieties we all have – maybe not. I just get the feeling of the unknown and what we are facing. Maybe the song is two sides to a love: the heroine and her doubts and the hero on the other side. One gets that sense as the song nears its end.

Holding tight and battling the waves; looking at the starlight and survival seems to underpin a tale of fortitude-against-the-currents. You never feel like there is negativity or a sense of defeat: always that spirit and desire to survive and battle on. Talitha Rise, in addition to other genres, employs Gaelic strings and there is an Irish flavor to the song. Pack that into traditional Folk and something more experimental and the song has so many ideas and sounds fused together. By the final seconds, you start to get a general sense of what the song is about but still ask questions. One of the key strengths of Invisible Fishing is its passion and pure beauty. Whether you take a clear message from the track you cannot overlook its sheer glimmer, transcendence and flight. Rich, sumptuous vocals and evocative backing – guitar lines sit with determined percussive patters – are a perfect pair and elevate the song to rarified heights. If it assesses a personal love and two sides overcoming the forces against them; a general sense of uncertainty and fear or something else – everyone will have their own ideas and take something different away. As a debut single, it is a strong one from the duo and sets out their stall. I hope subsequent cuts follow suit and contain the same ingredients and stories. I know Talitha Rise will sing about love and their own personal experiences but, as they have shown here, they have a real grasp of language and imagery. Never too obvious, unsophisticated or cliché: their lyrics provoke deeper understanding and impress with its choice language and wordplay. It is the performances of the duo that resonates longest. They sound like (and may have been) have played together for years; there are no gaps or any weak moments. Completely solid and entrancing throughout - a duo that is sure to do great business in 2017.

The Great Escape and a debut album are already on the docket for next year. It will be a busy and eye-opening one for the East Sussex residents who are taking their first swim in the clement (if busy) waters of music. As it is winter – and Christmas is nearly here – there the likes of Talitha Rise is much needed. The verisimilitudinous of their songs get into the heart and will resound with the listener. There is little in the way of avoidance and mystique with the two: they write direct, immersive songs nobody will be able to ignore. Invisible Fishing, on its title alone, provokes all sorts of metaphysical and quasi-philosophical interpretations. Whether you were expecting a lone figure in the dark – by himself in the tundra looking for life – or a metaphor for love and acceptance, you can take something away from the song. Its words and meanings are open to an extent but, broadly, look at relationships and balance. I hope my assessment has at least dented the surface and tried to gain an insight into the song. That is the beauty of a song like Invisible Fishing. Upon the first survey, you have ideas and possibilities but something new is revealed each time. The music and vocals are instant but the lyrics have that sense of nuance and complexity. Before I bring this thing to an end, and briefly returning to the opening concerns, it is worth predicting the arc and next few months for Talitha Rise. I mentioned how the duo will be playing The Great Escape next year: quite an accolade for a new act. The three-day festival is held in Brighton and in addition to being local, it will bring in new audiences and those based further afield. Media, reviewers and radio will be covering it so it’s an opportune moment for the duo to strike and impress. That is likely to be a rather easy task. Not only do they have the acclaim and positive reviews of Invisible Fishing but the flesh and bones of their album. Whether the L.P. will be out before that festival experience – it would be savvy releasing it a month or two before – it is going to be received with plenty of affection.

After that, and throughout 2017, there will be options and chance afoot. I am not sure (in 2017) just how trans-continental their music will become – or whether it remains indigenous – but I am sure they will get their songs heard outside the U.K. You just know, when hearing their music, there is more of the same coming; another batch of songs that have the same effect and intense passion. It will be interesting seeing what the duo decide and how they develop in 2017. I am sure, when their debut album is out, there will be a lot of people in their camp and following them. It is hard to get your name heard and survive in the modern scene. There is so much music out there – and so much competition – it can be intimidating for musicians coming through. The secret to success and longevity is originality and effectiveness. I looked at Folk variations and artists that have warranted more acclaim. In addition to Talitha Rise being among the most transcendent, captivating and hard-working acts around: they are on their debut stage and looking to claim a foothold very easy. Festival dates and a new album will bolster that but it is encouraging discovering a sensational act that emanates from outside the capital – we do not often get to celebrate artists away from London. East Sussex is upcoming and diverse with regards music and never fails to amaze me. Aside from the great bands there (The Wytches are from here) there are wonderful solo acts and duos. I have been, in the last few weeks, bemoaning how many artists do not expend energy into their social media and making themselves known. It is not sufficient having threadbare social media pages and not putting photos online – they do not cost a lot and should always be available. Talitha Rise is an act that gives me faith: they understand the importance and are highly visible and detailed. That gives the new listener insight and understanding of what they do; where they want to head and what inspires their music. The future will be bright and long for the Lewes duo and I am thrilled by Invisible Fishing. Become accustomed with a talented and busy duo that is on the cusp of something great. 2017 might be just around the corner but will be…

A great one for Talitha Rise

[youtube https://www.youtube.com/watch?v=4SFuiKifm3g&w=560&h=315]

_____________________

Follow Talitha Rise

Official:

http://www.talitharise.com/

Facebook:

https://en-gb.facebook.com/talitharise

Twitter:

https://twitter.com/talitharise

YouTube:

https://www.youtube.com/channel/UCgctenga8Vhhxj65Ap2-LSg