INTERVIEW: Corinna Jane

INTERVIEW:

 Corinna Jane

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SHE has been a little under the weather this month…

so this interview, let’s hope, has cheered her right up! I have been speaking with the marvellous Corinna Jane about her past music and whether new material is due. She tells me about her highlight from 2017; how she saw in the New Year – and which new artist we should keep an eye out for.

I ask about her background – she was born in Germany and spent time in France – and whether she had an eclectic musical upbringing. Corinna Jane speaks about her favourite albums and what she has planned; whether we can see her tour soon – and why a gig at St. Pancras Old Church ranks as a career highlight.

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Hi, Corinna Jane. How are you? How has your week been?

I had lots of good intentions to get started for the New Year – but, alas, the January bugs have got me! Sadly, I am on my second bug of the year - but the downtime has been good to plot the way for the coming year...

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

My name is Corinna Jane and I'm a quirky, piano-driven; Pop-Rock singer-songwriter who tries to unravel life's complicated emotions in a, hopefully, entertaining way.

Last year was busy and eventful one for you. How does it feel looking back at the past few months? What are the fondest memories?

Last year definitely featured some wonderful milestones...

The most notable one for me was appearing on London Live TV's prime-time evening show (being interviewed live on television). It was a dream come true: I had visualised a moment like that for a while and it was surreal to get to do it.

Hopefully, the first of a few!

I guess performing at St. Pancras Old Church must rank high?! What was that show like?

I have done hundreds of gigs but, by far, that’s one of my favourite venues I've played. You can't beat the feeling of playing in a historical, spiritual building that is hundreds of years old surrounded by beautiful stained-glass windows. The atmosphere was unlike any other gig I've played; there was a lot of warmth and the feeling of people coming together to really get lost in music...

‘Going to church’ took on a new meaning!

Can we expect any new material in the coming weeks? Will there be an E.P./single coming shortly?

I have unreleased material that I intend to release this year; however, I have also been working on an exciting Cinematic-Pop collaboration with someone - which we are just putting the finishing touches to and will be releasing shortly. You'll be hearing from ‘Animatiq’ very soon. Think of it as a modern, dark; emotional (slightly Bond-esque) kind of cinematic experience!

You were born in Germany and spent time in France – most of your life has been in England. Has that moving about been quite uprooting or has it been important and inspiring spending time in each country?

That is a very good question - and probably not one I've given a lot of thought to (which is unlike me as I am a master over-thinker)! I think my pride in having spent my childhood in Germany - and having a French mother and British father - has completely shaped my identity. I don't ever feel purely from one country or nation. I think connecting with different nationalities and speaking three languages has meant that I am able to easily relate to different people and way of thinking. I'm not saying I'm a chameleon but I think that my upbringing (and my creativity) means that I can get along with a range of people from all walks of life.

I think having all these influences of different European cultures has made me feel quite free-spirited in the sense that I don't like to follow crowds: I dance to my own beat.

How important are the French and German languages/dialects when it comes to music? Is language an important part of what you do?

Many people have asked me over the years - why I don't sing a song in French or German?! It's not that I'm not open to doing so: it's mainly because my thinking-language has been in English, which is where I can draw my poetic thoughts from. The trouble is that Pop music is so internationalised nowadays, which means that even in Germany (less so in France) English is often used as the language in lyrics.

Having said that; I recently wrote a song which, musically, definitely felt more French and, therefore, I will see if I can attempt to write a French lyric version - it's actually more fascinating to me how a melody can feel ‘French’ before you have even put pen to paper!

How early did music come into your life? Were stations like MTV quite instrumental?

Music came into my life right from the beginning…

My earliest memory of playing music is when I was a toddler figuring out how to play Richard Marx's Right Here Waiting on piano - which my father would always play. It was his playing, and introducing me to MTV, which initiated my life-long obsession with Pop music.

Who were the artists you looked up to when you were growing up?

I remember being very little and seeing this really cool woman on MTV playing the guitar; looking sassy and playing this song called All I Wanna Do. It was that moment on that I realised I wanted to be like Sheryl Crow and write songs - looking like a star - on the T.V.!

Your music has been taken to heart by stations and publications in this country. Is it encouraging when you get such good feedback from people?

Yes. It completely validates the reason why I do this!

Whenever I hear stories from people who have taken a song to heart and made it about their own experiences - this is when I know that what I'm doing has some value. I grew up listening to artists who felt like my friends as they sang about emotions I could relate to - who became the soundtracks to my life at varying stages. If I can do this for other people, then my life's mission will feel complete. When BBC Radio 6 Music and BBC Introducing (nationally) played my tracks; I felt like everything suddenly made sense.

This is why I worked so hard towards this.

2018 is here. What are your ambitions and dreams for this year?

As I've mentioned already: I'm excited to be launching the new side project, Animaitq. I'm very intrigued to see where this can go as it's still me, but it's an even more dramatic side - that's the beauty of collaborations. I'm working with a very talented film and commercial composer, Stephen Frost, and we believe there's some magic in what we're making. I think one of my dreams would be for a song to make it on to a movie or a T.V. show as a soundtrack - or even a theme-tune!

IN THIS PHOTO: Isaac Gracie

Which new artists do you recommend we check out?

I'm a fan of Isaac Gracie – I love his E.P. He really knows how to write a beautiful, melancholic and heartfelt tune.

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

This is pretty open at the moment as I'm just planning for this year. However; I'll be supporting the awesome Fred's House at the Ent.Shed (Bedford) on 6th April.

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

The Killers - Hot Fuss

It just screams out my teenage years. It takes me back to all the little tweenie dramas; the school bus to school, the romances; the house-parties. An exciting time but, seriously - there is no band that sounds like the Killers. Their sound and lyrics are utterly unique.

Marina and the Diamonds - The Family Jewels

She's such a unique Popstar but, sadly, a little underrated. She has a very distinctive voice and has such a wild imagination when it comes to her whimsical, yet highly melodic, music. Her lyrics don't just touch on the usual topics such as love: she goes deep-down and pokes fun at some of her dark sides and her quest for recognition. I found it very relatable - and she sounds like no one else.

Avril Lavigne - Let Go

I was in two minds about citing this but the reality is that, when I was a little girl, EVERYONE had a copy of this album. The songs were melody-driven, fun and feisty. She was this antithesis to all the more polished Popstars. She definitely inspired me growing up to want to write Pop-Rock anthems - and be a real show-off on stage. She certainly defined and era. I must confess that I also had people telling me for years that I looked like her twin. Ha!

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

It's a tricky time to navigate yourself as an artist because the old paradigm has changed: the gift and the curse is the Internet. On the one hand; you have all the means to promote yourself and cleverly play the game independently. On the other hand; you have to compete with a lot of other people screaming for the same attention. However; the silver lining is that it's not all about the major label anymore.

Try not to fit your sound into a particular mould in order to fit current trends - do what feels right to you and you WILL find your audience!

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

I do love a bit of Country - and one of my favourites is Kacey Musgraves! I love this song, Die Fun.

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 Follow Corinna Jane

Official:

https://www.corinnajane.com/

Facebook:

https://www.facebook.com/corinnajanemusic

Instagram:

https://www.instagram.com/corinnajane/

SoundCloud:

https://soundcloud.com/corinnajane

Twitter:

https://twitter.com/Corinna_Jane

YouTube:

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

FEATURE: We Need to Talk About Katy: Why Witness’ Poor Sales Mean the U.S. Star Needs Protection – Not a ‘Tough Talk’ from Her Label

FEATURE:

 

We Need to Talk About Katy

IN THIS PHOTO: The cover of Katy Perry's album, Witness/ALL PHOTOS (unless credited otherwise): Getty Images

Why Witness’ Poor Sales Mean the U.S. Star Needs Protection – Not a ‘Tough Talk’ from Her Label

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I was flicking through the music news when…

I came across a story regarding Popstar Katy Perry. Witness, her latest album, entered the U.K. charts at number-six and has sold fewer than 60,000 copies to date. Her previous albums have shifted more than 500,000 copies – this latest revelation is seen as a huge (commercial) disappointment. Capitol Records’ Steve Barnett has a great relationship with the label’s star but, as he said, there need to be tough conversations and a serious review. Katy Perry has a very distinct demographic – mainly young girls and teenagers – and there is nothing radical about her new record. Witness is a bit bigger and bolder than most albums out there. One cannot accuse her of toning things down or taking a more mature and soft approach. Maybe that is the problem, perhaps? There are those who might look for an evolutionary shift but, considering her fans have been with her since the start – I wonder why the sales have dipped. It is natural for an artist to encounter some poor sales. That should not be met with record bosses’ stern expressions and a rather serious chat. It is like being at school: Katy Perry, the A-grade student, is seeing her results slips and, as such, the headmaster has got involved. Prism, released in 2013, was considered a cleaner and tighter album than previous efforts; a fun album that saw Perry embrace the mainstream wholly.

PHOTO CREDIT: AJ Numan

It gained some mixed feedback but many saw it as a decent and appealing record – one that could cross borders and draw in non-Pop fans. That has been the same impression with her other albums: ever since her 2001 debut (Katy Hudson); there has been a split but a general consensus the music she puts out has energy and a smile on its face. She trades in upbeat Pop bangers and songs designed to get her fans dancing. Witness, maybe, has more in the way of contemplation and introversion but it is not exactly a record full of ballads and Jazz standards! From a sonic and stylistic viewpoint; you cannot claim poor sales are the result of a radical creative left-turn. The tour she is on right now (named after her album) is picking up impressive tickets sales – one cannot claim Perry is lacking fandom and love. I am not her biggest fan but have listened to her albums and cannot see a huge shift between them. The record label is guiding her to a particular sound and style. They want her to remain as she always has been with, perhaps, a few different aspects here and there. Perry delivered the goods on Witness but I wonder whether some pre-release reviews caused damage.

Songs like Witness and Swish Swish (ft. Nicki Minaj) are her classic stock-and-trade; Chained to the Rhythm (with Skip Marley) a big hit – other songs are more anxious, muddled and conceptually flawed. There is ambition in the record but some critics noted a dependence on reverb/effects; a record that was trying to say something without putting its finger on it; a little bit of a lunge for creative credibility. I look at that last point and wonder whether Perry’s management and label are responsible for any negativity. She has been given a certain degree of freedom but, since hit albums like Teenage Dream (2010); she has tried new things and not wanted to get bogged down. There are plenty of collaborations on Witness; some songs have a similar tone but there is the impression of a young artist not wanting to get stale. Whose decision this artistic change was – the label or Perry herself – I am not sure. Witness topped the U.S. Billboard chart and was successful (in terms of the charts) in many nations. Songs have been spun on BBC Radio 1 and it has seen her embark on a very lucrative tour. One cannot say, by any measure, Witness marks a failure! Maybe it is less bombastic and sun-seeking than her previous albums: the thirty-three-year-year-old realises she needs to start acting her age…to a degree, anyway! I am pleased that the album does not try to revert back to her 2010-stage; she is moving forward and, yes, there might be one of two weaker moments.

Her fans, without offending, are not the type to look at reviews and be disheartened. They buy Perry’s music because it comes from an artist they connect with. She is an idol to them and, unless she embarks on a seriously misguided sonic path; they are going to follow her and buy her albums! The four-year gap between Prism and Witness means, maybe, there was too long a wait for new material. Perry was busy touring after Prism’s success so could not have been expected to race into the studio and lay down new material. Those dates and demand are crafted by the same people who are questioning Witness’ sales. The bosses cannot point the finger at an artist who has followed their orders and delivered a huge album. After the rigorous dates and exhausting performances; one could not expect to get her into the studio that quickly. Again; management and the label are responsible for when Perry records and when they want a record. Witness was released on 9th June (2017) and, as it is not the most summer-sounding album she has released; maybe that decision was flawed. Other artists have come onto the scene that has the same sort of sound and dynamic as Perry. Pop artists are springing up all over the place – fans might go looking for their next fix if they feel they are deprived of music. With more competition coming in – younger and fresher – it is inevitable artists as established as Katy Perry would see a slight downturn. It has happened to everyone from Lady Gaga to Rihanna: you can never keep the gas on all the time and, so many years after her debut; one can forgive a slump (of sorts).

We are buying music digitally so it is hard to say how many people actually bought her album. If you can get it for free – or hearing it from someone else – that does not reflect the complete picture. Videos for singles like Swish Swish and Chained to the Rhythm commanded multi-million views on YouTube; they were soundtracks of the summer (although both songs were released earlier in 2017) and did not suggest an artist in trouble. I know Perry will go on to release many more albums and change her sound. As she is in her thirties; the music might get more mature and considered – it is down to management and the record label to look after their star and ensure she is marketed and branded appropriately. That four-year wait is partly responsible for less-than-staggering sales figures but you cannot put too much pressure on an artist. Perry will only feel ready to record and inspired if they have enough time to breathe and opportunity for personal space. Maybe there are issues with her longevity and what people expect from someone like Katy Perry. She is seen as this ever-cheery American singer who brings the bangers and has that Californian swagger. That is all well after a few albums – and when you are in your twenties – but I wonder whether a naively means fans/labels expect her to be that same person today.

The market has plenty of other artists who can do that sort of soulless, yet fun, type of Pop. It is a staple among the pre-teens but, as her fans get older; Perry needs to make music that is meaningful to them – not ensure there is arrested development. She needs to appeal to the same demographic she did at the start of her career but, with a need to do something different; can she appeal to everyone at the same time?! Maybe a slight muddle and head-splitting marketing nightmare mean Witness’ slight sales should be an alarm. Perry is at a stage where she needs the label and management to sit down and have a constructive talk about the next stage of her career. She wants to remain popular and relevant but cannot repeat what she has been doing for years. Rather than admonish her for – what they see as – poor sales; sit with her and have a constructive talk. The next album might need to arrive sooner than 2020/2021 but, as she is slammed with touring, there will not be any more material for a while yet! I am not expecting those management conversations to be too brutal or career-ending. They will not terminate their association with their star but, I feel, there will be a push to get more material out and return to her early days.

I feel Perry, in a move to forge a more age-appropriate identity, has taken gambles and done something impressive. She is trying to please older and new fans – we cannot expect that sort of leap to be a total success. The touring demands, YouTube views and positive reviews (there are a few) show she is not lacking in affection and popularity. Sales figures are not the total sum of an album and, with streaming so readily available; I wonder whether we can ever get an accurate reflection of an album’s worth (on that basis). Surely the reviews are more important? Witness has been well-received by many but, regarding those who were less effusive, maybe this will help her grow and strengthen for her latest album. The latest absurdity in Pop means we are putting too much pressure on modern artists to conform to a very business-orientated approach to music. If they do not shift one-million units – or break Spotify records – then they are past it and fading. We are seeing plenty of great albums denied good sales and proper spotlight: poor records getting a lot of kudos and breaking records all over the shop. One cannot put too much stock in trade: the quality of the music, and the demand for the artist, outweighs all that. The fact Perry played last year’s Glastonbury means her music is getting her onto some impressive stages. She, like Lorde and Taylor Swift, are Pop artists who are capable of reaching listeners in different age brackets and genres (those who prefer other styles of music). Witness is not the sign of a decline and catastrophe: it is an album that has resonated with her current base – and one I found more consistent than previous records – but, perhaps, means her label needs to get into talks to think about her direction. Rather than turn their nose up at lacklustre sales; they need to be more supportive and ensure their precious talent is able to grow and remain. Perry will be on the scene for years to come and, following Witness’ reactions and reviews; I do not feel the American needs to go into a protection scheme…  

ANYTIME soon! 

FEATURE: Palookaville Bible Dust: Is It Possible to Achieve Your Dreams in Music?

FEATURE:

 

Palookaville Bible Dust

ALL PHOTOS (unless credited otherwise): Unsplash

Is It Possible to Achieve Your Dreams in Music?

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THIS thought is sponsored by a bit of a crossroads…

that has come into my life. In terms of my writing; I enjoy what I do and am always looking to improve and build. One of the biggest ambitions I have is to heighten my site and take it in new directions! The reason I am not pumped and racing ahead is that the ‘real life’ side of things is holding back that charge! The last couple of years have, without doubt, been the worst of my life: in a wretched job I hate and cannot get away from; unable (despite endless mailing and applications) a job in London/Manchester; taking steps backward and spending time in an area/around people I hate (except for my family). It is a horrible and stressful time and, above all, is that desire to get away, move to the city and start living – it seems like a distant dream. The half of me that is succeeding and growing is online-based and intangible. I can gauge the appreciation an artist provides after a review/interview; see the sort of people responding to the stuff I put out there; know a few people are discovering my work and taking heart from it – there is an emptiness that remains when I think about it. I love what I do – or would not dedicate all my free-time to it – but that desire to take a more physical and multimedia approach to my music is always on my brain. The only way I can subsidise my dreams, and make real progression, is to move to London/Manchester; get a better/better-paid job; go somewhere more social and pleasant – locate to an area I feel more comfortable and happy.

I know a lot of musicians in the same position: they can dream big and love music but, because of the domestic/work side of life; they feel a bit trapped and lost. This may sound like a feature that should appear in a business publication but the point remains: can you achieve anything in music if you keep passionate and remain focused? It sounds a bit New Age and quasi-philosophical: have that positive mindset and, before you know it, things will happen. I am not one who validates notions of karma, parity and fate: one must go out and earn luck. People do not get what they deserve – they get what they get, unfortunately. I feel, at thirty-four, so far behind where I want to be as a person. I know a surfeit of relationships and sociability will be amended when I relocate; a job will come soon enough – I feel like I have been enclosed for too long; not getting any breaks and unable, like a bee caught in the sun, unable to escape from a jam jar. If I were in any other industry, away from entertainment/media, I think I would be much further ahead. I would have more job opportunities and it would be simpler to go into the career of my choice. I feel, as bad as things are, my love of music and need to follow it to the ends of the Earth are keeping me ticking and in the game – able to rationalise a lack of love and happiness.

I guess every part of the media/entertainment world is difficult – not something you can easily slide into and get paid right away. A few days back; I wrote about the music media and how difficult it is getting paid work – many have to undertake unpaid internships and, with it, there is that hardship and struggle to make ends meet. I hear lots of horror stories where artists, with a lot of ambition and desire, are felled by the realities and hurdles of music. They set their sights on success and a certain game-plan: after a while, the scales fall - and those dreams they once had seem to die away. It is upsetting to see but I wonder whether more (in terms of numbers) positive messages should be put out; a way for artists/creative to keep going and be provided with some positive enforcement. I can’t imagine a more depressing and numbing environment than where I am right now – in terms of work and how far away I seem to be from the rush and excitement of London – but there are two options: make a drastic break and task a risk (knowing, if I quit a job and move there without one, I could fail) or remain where I am, put the hours into my writing, and hope that it pays off. The former option is more attractive and tempting: the latter is the one I have to abide by...

IN THIS PHOTO: Clairo/PHOTO CREDIT: Pinterest

I will come to possible solutions and industry-wide schemes but, when thinking about survival mechanisms – I have been looking at a couple of recent interviews with artists; making points that resonate with me. Clairo, a young YouTube star, might not be the first person one would study for perceived wisdom and inspiration – that is no slight but the preconception we have of certain artists. The U.S. artist has played sold-out gigs and, when speaking (recently) with Pitchfork talked about her rise and a successful 2017. She is a freshman (excuse the academic-based sexist term!) at Syracuse University and hopes to have an E.P. out soon. It will be, as she says, a sort of bedroom-era version of what she has done before. Whether that means dorm-made recordings – or lyrical arcs that look at the vicissitudes of home and a personal space – I am not sure. Songs like Pretty Girl have lodged in critics’ heads and, releasing it as part of a female/non-binary cassette compilation; the song is a wise and investigative number looking at how one can lose themselves along the way. Not only does the song connect but the way she is doing things is compelling. Rather than chase music and think big without a back-up-net; she is studying and recording in her spare time. Rather than become disappointed and make unrealistic plans; that pragmatic and practical approach to music is humbling.

IN THIS PHOTO: Rina Sawayama/PHOTO CREDIT: Getty Images

Another artist, Rina Sawayama, has looked at the addiction to social media on her self-titled mini-album. Songs like Ordinary Superstar and Cyber Stockholm Syndrome talk of YouTube vloggers and how we substitute real-life for the digital one. The interview she conducted with The Guardian got me thinking about something bothering me: how far along some of these YouTube ‘stars’ are; how dependent I am on social media. There are contractions when looking at Sawayama. She writes about those, like a drug, hooked on social media: she, herself, spends time on social media and, when at her most anxious, writes about that feeling. The East Asian writer is adapting to life in the Western world; creating something rare in this country – a lot of what she is putting out saying. It makes me think about how I approach journalism and live my life. I am too focused on the Internet and hoping things will happen there: getting out there and being able to wean myself from the screen is the biggest flaw I have. I feel you can achieve anything in music but there is a caveat: ensuring the time spent on social media/the Internet is right. That might sound subjective but, from my viewpoint, I am writing too much – when I could be out there handing out C.V.s – and assume, unless I am mega-busy all the time, I will get overlooked and forgotten – or my fingers will atrophy from lack of work!

The subcutaneous effects of social media mean we spend far too much time away from people – thinking all our answers and luck will come from there. I feel a lot of my malaise and depression stems from over-dependence on writing and unable to escape a trap: getting out there and feeling confident taking a few days off here and there might be a more sensible approach? I think all us creative types get too focused on grand ideas and goals; an unrealistic picture that we, inevitably, fail to live up to – maybe that is to do with the media and their ideals; the pressure and competition we see on social media. I know I will never be a one-man Pitchfork but I also know my work matters. Finding that middle-ground and reassurance is what makes the difference – that can only come from human interaction and feeling comfortable about your job/life/psychological well-being. My five-year business plan includes a professional writing/media gigs (radio or press); spending time in Australia, the U.S. and traveling the U.K.; settling in London/Manchester and, essentially (socially) making up for a lot of lost time. The core ambition I have is to keep the blog going but make it more interactive, visual and ambitious. The sticky-wicket is when I understand how that can be achieved: getting a job that pays me the money so I can afford to that – taking me back to the initial point and the bind I am in.

Many of us dream large and a lot of our depression and anxiety comes when we consider how far we have come; we deem ourselves ‘failures’ if we do not achieve everything right away – forgetting how important realisations and small (positive) steps are. Age does not matter – if you are not a big deal by a certain time – and change can occur if you take sensible steps to break out of a bad mindset/rut. That is the position I am in: I need to get out of a depressing funk and start thinking about things like work, living and location – rather than become too obsessed with writing every hour and feeling social media visibility is the way I will get that ‘dream job’. One of the biggest issues I have encountered is the fact most of the opportunities out there are advertised online. I have to spend a certain amount of time researching but, whilst I am on my laptop; there is that temptation to write and go on social media. Breaking that habit is hard but, in the long-run, is it the best thing to do. No matter how lofty your aims are, there is a way of achieving it. I hear of artists who want to get their music played on the national stations. Everyone is vying for the same honour – it makes things harder; working for visibility in a crowded sea. It may take longer than you’d hoped but, with persistence and patience, it can happen. You can contact these stations and keep them abreast of all your material; find ways of spreading the song to the people – the more people who hear it; the bigger it becomes and, in time, that gets to the big guns.

So much of modern music is about artists striving for something that justifies the work and time they put into things. A certain amount of Internet-time is required but it is important not to measure success and ‘worth’ based on other people. The media and music scene is open to everyone and there is no race to get to the top. I understand competition is tough but setting smaller goals (at first) and making those all-important connection is paramount. Every year, draw a plan of what you want to achieve and plan how you will go about doing that. Set aside a small amount of time every day and do something productive – even if it is emailing radio stations or booking gigs. I am taking this approach and, after a couple of bad personal years; I am ensuring I give myself enough time to find that acceptable work-life (social and actual) balance. Spending less time frittering time on social media – and seeing it as a replacement for human contact – spend your online time building your career and making concerted, daily steps towards the summit. The reason I have been so down is (because) I’m judging myself against bigger websites and sources: they all have teams and, as hard as I work, I could never match them (for quality or popularity). Reaching a few new people every day is a massive victory. It may not be a headline slot at Glastonbury but see music as a years-long career that will provide small gifts every year. I am determined to take a much healthier, pragmatic approach to 2018. I have dreams – and want to achieve them all – but, rather than get them all realised this year; I am setting myself longer-term goals and, in the process, providing more time to relax and become more sociable. Happiness and personal fulfilment are more important than anything out there. Every artist/writer can reach what they set their mind to – just don’t get hooked on chasing others and seeing surging too far ahead. See this fresh year as one that will bring success but may not, necessarily…

SEE all your dreams realised.

FEATURE: Linger: Remembering Dolores O’Riordan: The Playlist

FEATURE:

 

Linger

 IN THIS PHOTO: Dolores O'Riordan/PHOTO CREDIT: Billboard/Getty Images

Remembering Dolores O’Riordan: The Playlist

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I may be a bit late to lay a tribute down but…

PHOTO CREDIT: Getty Images

I was keen to add my voice! Whatever way you discovered The Cranberries; their intoxicating lead Dolores O’Riordan seduced and amazed all those who heard her. Many see Zombie – one of the band's finest tracks – as a call for common sense and a rebellion. It was the sobering shot against senseless violence and resonated with many in Ireland – all those who witnessed the 1993 bombing in Warrington. Its two young victims, Johnathan Ball and Tim Parry, were immortalised in the song. It is a powerful moment and one that showcased the amazing vocal range of O’Riordan. Linger is, perhaps, the one we all know the band for. It was a way O’Riordan found the band - a demo version of the song was the first thing she brought to them. Her songs looked at the heartache and disappointment of love but moved into political and social boundaries – unafraid to tackle something hard-hitting and important. Her incredible voice and songwriting inspired many other artists and compelled those who heard her. Many dressed like her and copied her style; others found a voice that spoke for them; others were intrigued by the paradoxical nature of her being. She was fierce and shy at times; inscrutable and down-to-earth. Her warm personality and friendliness is one of the biggest take-aways we have of the Irish star – everyone who came into contact with her was seduced and affected.

PHOTO CREDIT: Getty Images

Everybody Else Is Doing It, So Why Can’t We? was the incredible debut from The Cranberries. O’Riordan; alongside Noel Hogan, Mike Hogan and Fergal Lawler released a staggering record with standout songs such as Linger, Dreams and Sunday. It amazed critics and introduced the band to the world – the affection was there right from the start! In 1993, when there was still Grunge, huge Pop and Rock movements: The Cranberries were apart and doing something different. They were a unique group who did not want to fit into any rigid formats and moulds. That was personified by Dolores O’Riordan and the way she performed. No Need to Argue, released in 1994, was the band’s best-selling album and dispensed with the double and triple-layered vocals – preferring a clean vocal sound and a more focused production. Zombie was the big hit from the record: I Can’t Be With You and Ridiculous Thoughts were other standout songs that showcased the band’s consistency and evolution. By 2003; the band went separate ways and needed time to do their own thing. They would come back in 2009 and, as recent as last year; there was talk a new album would arrive (this year). Something Else, released last year, featured acoustic renditions of their best-known songs – and showed the band were keen to move forward in addition to looking back.

PHOTO CREDIT: Getty Images

To me; Dolores O’Riordan was that rare voice and artist who did not want to repeat what was out there: she was a rare bird whose song motivated so many other artists to take to music. I have heard so many stories of musicians being awed by The Cranberries and this stunning voice; an incredible woman who was unlike anything out there. It is devastating O’Riordan is no longer with her – one of the greatest voices of the past few decades. Her death is not suspicious but one wonders why a forty-six-year-old could be taken from us so swiftly! She was in London for a brief recording session and, word has it, was excited about getting into the studio. I cannot believe she took her own life – she was diagnosed as bipolar and suffered mood-swings – and the fact she was here to record new music means she was looking ahead. Whatever the reason behind her death; there are many who will feel the effects for years to come. It is a huge loss to 2018 and a reminder of what a sensational talent has left the world. I know there will be nobody like Dolores O’Riordan again: that same mix of incredible intensity and knee-buckling beauty. In a sad week that has seen the death of an incredible artist; we have the fantastic back-catalogue that will…

IN THIS PHOTO: Dolores O'Riordan in 2016

LIVE forever.

FEATURE: The New Astrology: Which Artists Can Make a Genuine Change This Year?

FEATURE:

 

The New Astrology

IN THIS PHOTO: Sigrid/PHOTO CREDIT: Getty Images

Which Artists Can Make a Genuine Change This Year?

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THIS is a sort of music Winterwatch where I look…

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

around and search for the artists who will (start to) make an impression. They are not brand-new but, as I search for the artists who will make an early impression on the year; tune-yards are going to be ringing in the ears. Merrill Garbus is, essentially, tune-yards and, since 2009, she has been making some of the most innovative music around, Bird-Brains was picked up by 4AD in 2009 but, when she moved to California in 2011; WHOKILL was recorded and by 2014, with bassist Nate Brenner in association – Nikki Nack made a huge impression and signalled her out as one of the finest voices on the scene.

IN THIS PHOTO: tune-yards/PHOTO CREDIT: Eliot Lee Hazel

The latest record – and brilliantly-titled at that! – I Can Feel You Creep Into My Private Life – is out on Friday and is promising to be something special. Its title derives from a meditation course Garbus was enrolled in – one relating to race and white privilege. Songs like ABC 123 have gained a lot of airplay and, before tune-yards tour the U.K. in March; we have an extraordinary album to look forward to. Lyrics (on the record) explore everything from race to cultural appropriation: downbeat, serious lyrics paired with upbeat, sprite compositions.

IN THIS PHOTO: shame/PHOTO CREDIT: Dan Kendall for Loud and Quiet Magazine

Shame are, despite their name, another act that are going to kick this year off with a bang. They refute the idea the leather jacket-wearing, womanising Rockstar should be purged – it is a notion best left in the past; reserved to previous decades. Shame are an angry and fuelled band but you will not find them assuming the mantle of a beer-swilling, drug-taking band. There is, as they have said, an attraction to that lifestyle: they make music to reach the people and know modern life is not like that now. Money is tight and bands like them cannot afford that kind of existence – not that this is a bad thing! Taking inspiration from the likes of The Fall and Iggy Pop; the music you get from the Londoners is ferocious but has depth and plenty of hidden layers.

One Rizla is a song that outlines their lack of concern with reputation and technical proficiency – “My voice ain’t the best you’ve heard…But do I give a fuck?” Like tune-yards; shame are a force we need in music. The former is more about social consciousness and those weirdly original and unexpected songs: Shame are more direct and a band that summons rebellion and power – commodities that have been missing in the music industry for a while. The quintet formed when they were in their mid-teens and would play the same sort of scene as their London mates – going down their own path and establishing themselves in their own rights. Expect the boys to go far!

IN THIS PHOTO: Skelhorn/PHOTO CREDIT: Getty Images

There is a lot of excitement around female artists – especially in Pop – and I shall come to a few I am very excited about. Skelhorn is someone who has been compared to older-days singers like Elvis Presley. He is from Liverpool and, whilst these are early days; there is a real buzz around him. That striking voice gets into the heart and he is someone who will be a big star before too long. He has been performing since the age of fourteen and been recognised by local stations (around Liverpool). He has performed and toured with three different bands and now, stepping aside, he is picking up the veins and embarking on a solo career.  There are some positive vibes projected his way: make sure you check out Skelhorn and why he is being tipped as a future talent of serious note.

PHOTO CREDIT: Sudan Archives/PHOTO CREDIT: Theo Jemison

Sudan Archives is a twenty-three-year-old violinist/vocalist who writes and plays all her own music. She is a self-taught musician and, inspired by Sudanese fiddlers; R&B artists and West African rhythms – you get a brew that swirls around the brain and strikes the heart. She grew up in Ohio and, as she said, messed around with instrument around the house. Noting how violinists and fiddlers in Africa played; she wondered whether this style could be blended with Electronic music.

That fusion of Folk and Electronic was a real turning point for the America. Critics are raving – and it is easy to see why! The talented artist mixes beats – laid down on her iPad – and pairs that with traditional, warmer instruments. Sudan Archives moved to L.A. aged nineteen and has won plaudits from some big sources. Her E.P., Sudan Archives, is a confident and nuanced work from someone who is going to make a huge mark in 2018.

IN THIS PHOTO: Sigrid/PHOTO CREDIT: Getty Images

Sigrid has recently been named by BBC as their artist to watch this year. The announcement came as a shock to the Nordic artist. Debut single, Don’t Kill My Vibe, was a revelation – it gathered millions of Spotify streams and saw her a much-demanded name on the circuit scene. There is already talk she can go on and be headliners at Glastonbury one day – she has already played at the festival. Notable highlights from 2017, like playing Rockslide (Denmark) in June, have seen her music go far and wide. Thousands have seen her perform and everyone comes away with the same impression: they are witnessing someone who will go very far.

She has released a four-track E.P.; got the ear of BBC; been played on our best national radio stations – topping numerous ‘ones to watch’ polls and proof the Pop/Alternative music of 2018 is going to be a very different affair. Sigrid will play U.K. dates in March and head to Coachella in April. Since her debut single in April; that rise has been steep and heady. Who knows how far she will go?!

IN THIS PHOTO: Madison Beer/PHOTO CREDIT: Factice Magazine

Madison Beer is a Pop artist who personifies the notion of a modern-day star: she is a huge hit on Instagram and has a legion of fans. The teenager is not your average Bubblegum-Pop purveyor: she produces more mature, deep music that is backed by that honeyed, alluring voice. From chilled and floaty to zesty and precise – her music switches direction and is hard to predict. I know she will make big steps this year and, in a Pop market that is filling fast; Madison Beer stands out and has the chance to make a real difference. That fanbase, tied to her natural songwriting ability, means she will have a very busy year. I have been following her work for a little while but, from song-to-song; I can hear a development and evolution. She is growing stronger and more confident; festival and gig requests are coming in fast – I would expect worldwide dates to follow through this year.

IN THIS PHOTO: Zoee/PHOTO CREDIT: Getty Images

Zoee has worked with Pub-Pop pioneers Rhythm Method but is an artist who stands alone. The Londoner performer mixes her stunning vocals with electronic templates; there is a balance of the melancholic and minimal – a veritable blend of contrasting emotions and polemic sonics. Her debut E.P., Insecure, was a triumph and picked up terrific reviews. Songs look at everything from loneliness, miscommunication and the perils of love. One can relate to her music but never get bogged down and bored – it is always engaging, fresh and surprising. There are a lot of great female Pop artists coming through but the ones I am highlighting are beyond the limits of the mainstream. I am excited how Zoee progresses and where she can head this year. Her live performances are being highlighted: a natural performer who can hold an audience in her palm.

IN THIS PHOTO: Julia Michaels/PHOTO CREDIT: Getty Images

Julia Michaels is not as new as some of the artists I have mentioned – but that does not mean she should be excluded. She was a huge success in 2017 and has already been nominated for a Grammy; written a string of hits and co-written for some of the biggest artists on the planet (including Justin Bieber). That husky, chocolate voice makes every word resonate and stun; the lyrics stray from the ordinary and cliché; the songs cross boundaries and subvert expectations. She is someone who can talk about lust and heartache and do so in a very new and unexpected manner.

She, like Baywaves, Moaning and Tom Grennan, are artists I am expecting to do good things. I have been reluctant to back Grennan but feel, the more I hear him; there is an artist that has a unique soul and a voice that warrants further attention. There are few male solo artists that stick in my mind at the moment. Grennan differs from the pack and manages to avoid the trappings of a lot of hot-tipped artists: writing in a very safe and cautious way. His songs are bold and are far stronger than a lot of the new music being produced. Baywaves are an act I am especially keen to promote. 2017 was a busy one for them and it saw many new fans flock their way. Gliss was released back in June: a stunning single that, to me, signalled their best work. Down 4 U followed and, like Gliss, got right into the soul. There are jangly guitars, hazy melodies and Pop vibes. It is a wonderful concoction that will see the Spanish group pick up awards and gig requests.

IN THIS PHOTO: Baywaves/PHOTO CREDIT: Neelam Khan Vela 

Abra Cadabra is as magic and surprising as his name suggests. The Tottenham M.C.is turning heads and offering something daring and bold. He has already teamed with industry-leading acts like Kojo Funds - and look set to set this year alight. I am looking out at the Urban scene and wondering which artists can come through - speak the truth and lead the people. There is something real and uncomplicated regarding Abra Cadabra’s ethos and ego – he is a pure artist doing his own thing; not willing to compromise an succumb to the lure of the mainstream.

IMAGE CREDIT: Getty Images

BASSETTE excites me and, like Sigrid and other stunning female artists; the hype and attention is warranted. She has a voice that has been compared to Amy Winehouse and, like the departed legend; there are hopes she could be an international star. These are early days but I know BASSETTE will go from strength to strength. Her music is among the finest I have heard in a while; that voice fills the mind and takes you somewhere magical. Another female artist I tip to do big things, and has been garnering great praise, is Catherine McGrath. She is a talented Country artist from Northern Ireland and has had a very successful past couple of years. I feel her best work is ahead and, as we look to the musicians who will do wonderful things. Her clear voice and instant songs have seen her tipped as a potential crossover artist. I expect her to go a long way and, perhaps, get a lot of U.S. dates. I am aware of what she can do but, as she gets more gigs; that sound get stronger and more astonishing.

IN THIS PHOTO: Catherine McGrath/PHOTO CREDIT: Getty Images

MALIKA is another wonderful artist whose track, Falling (with Snakehips), was a classic R&B cut. She has, since then, released the stunning single, Run. The song featured on the E.P., Songs About C, and suggested what is to come this year. She enjoyed modest acclaim in 2017 but, as the music has had a chance to bed-in; I expect more gigs to come her way. I know she will continue to grow as the year goes on; ascend and climb the ladder and show why she is one of the most exceptional young artists around. There are a lot of great artists who are doing the same sort of thing but, when one thinks of MALIKA, you are not reminded of anyone else. I am pumped and ready to see where she can head through this year.

IN THIS PHOTO: MALIKA/PHOTO CREDIT: Getty Images

Kymberley Kennedy projects the same sort of emotions in me. Her music is really starting to gain traction and, as we progress; I expect her to get some rather notable acclaim. I can see her picking up awards and being invited to play festivals. It is exciting discovering an artist you just know will be around for many years. Few have the same passion and drive as Kennedy; the songs are exceptionally physical and emotive. You cannot listen to her with a lazy and undedicated mind: you go in with a willing heart and submit the sheer grace and potency. I am going to follow her and back everything she does.

IN THIS PHOTO: Kymberley Kennedy/PHOTO CREDIT: Getty Images

My final act to highlight is FALSE HEADS. They are a band I interviewed last year – I know full well what they can do! Iggy Pop has already fallen for their charms and, when you listen to the Gutter Press E.P., you understand why! It is a loud and vivacious Punk offering from four lads who have a lot to say. As the world gets more fraught and unbalanced; I expect them to have a much larger role in music. It is an opportunity-laden time when they can join the likes of IDLES – another band who can get the jaw dropped – and conquer the festival circuit.

IN THIS PHOTO: FALSE HEADS/PHOTO CREDIT: Getty Images

There is a big demand for bands who go beyond the conventional and summon something genuinely thrilling. No danger with these guys: every song bursts out of the speakers and motivates the body! I am excited by their progress already but know they go a long way still and mark themselves as one of the best British bands around. Ensure you follow them as they throw down the gauntlet this year!

I have collected a few names that are being tipped and being featured on those ‘ones to watch in 2018’ features – those that deserve the acclaim and look set to add their voices to the year. A lot of the pollmakers’ predications, I feel, are flawed or a little rash. They might proclaim an artist and then, a few months down the line; one finds the shine and promise has faded. It can be hard deciding which artists are going to do big things. These are a smattering of musicians to look out for - but there are more worth looking out for – I will throw the spotlight on as many as possible! I feel 2018 is going to be one of the strongest years for music in a long while.

IN THIS PHOTO: Yonaka/PHOTO CREDIT: Getty Images

The solo market is still (very much) the champion: great bands are coming through but they are not getting as much time as solo acts. That is the way it’s been for a while but there stunning bands – from Anteros and Yonaka to Duke of Wolves – I have been following a while and know how good they are. The predictions thrown out by the newspapers/websites hold sway and truth. There are some great artists coming out of those articles that, I hope, will get the recognition they have been working for. It will be exciting none the less and, when it comes to some promising artists worth getting behind; the artists you see above are well worth…

IN THIS PHOTO: Duke of Wolves/PHOTO CREDIT: Violet Verigo

HANGING your hat on.  

FEATURE: Just How Should I Feel Today? The 'Blue Monday' Playlist

FEATURE:

 

Just How Should I Feel Today?

ALL PHOTOS: Unsplash

The 'Blue Monday' Playlist

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TODAY is, as we all know, the dreaded ‘Blue Monday’.

it is meant to be the most depressing/unhappy day of the year; one of the least productive and gloomiest; where we all hunker and retreat...waiting for that Tuesday relief! We are past the Christmas period and the festivities - and no longer reminiscing about the start of the New Year. It is that awkward period of the month when we are past all the good stuff and do not have a lot to look forward to. Rather than wallow and spend the final hours of the day sad: I feel a burst of uplifting music is a good way to end this Monday with a bang! I have compiled a collection of songs that aim to raise a smile and get the body moving; shake those blues away and ensure the year’s unhappiest day is put to bed…

WITH positivity. 

FEATURE: The Long Fade: How the ‘Greatest Hits’ Album Has Become Near-Obsolete

FEATURE:

 

The Long Fade

IMAGE CREDIT: Getty Images

How the ‘Greatest Hits’ Album Has Become Near-Obsolete

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THIS notion has been prompted by a feature I saw…

PHOTO CREDIT: Unsplash

in The Guardian over the weekend. It explored the idea that, in the modern time, the concept of the artist/band ‘Greatest Hits’ album has all but died. It is interesting looking into it as, with streaming and the way music is marketed, people are listening to songs over and over for free. If you consider the last greatest hits collection you bought: I am guessing it might be a few years old by now. I think the last time I raced to get one was when Radiohead released theirs back in 2008. The eighteen-track L.P. featured music from their finest albums and, as a single source of Radiohead music; it was pretty authoritative and pleasurable! I did, of course, have a few of their albums up until that point – The Bends and OK Computer; Kid A and Amnesiac; Hail to the Thief and In Rainbows – but it was good to have all the best hits on a single disc. Some had the temerity to claim the so-called ‘best of’ was not quite up to the mark – there were notable omissions from the pack. I wonder whether that is a problem when launching your greatest hits collection: fans will be divided and there is never a consensus of what constitutes the ‘very best’. Given the fact that, in 2008, Radiohead were being talked about as near-finished and past their best days – was it a move to rekindle interest in their work? 2007’s In Rainbows was a triumph, mind: a tight and lean album of beautiful love songs that showed the band were in a league of their own.

IMAGE CREDIT: Getty Images

Those who harked back to their classic albums – The Bends and OK Computer – considered In Rainbows another twist away from their best days – although In Rainbows was to be their last album that contained guitars (in a major role). The material on Radiohead’s greatest hits collection satisfied many but there are always niggles when it comes to rejecting certain songs. You cannot please anyone so I wonder, because of that, there can ever be a true ‘greatest hits’ collection? It is an interesting debate and one that divides fans. The labels and compilers are pretty savvy when it comes to collating the material – they are not going to deliberately exclude great songs and annoy the fans. I wonder whether, given the fact we can get any song at our fingertips; it is impossible pleasing those who want, in this situation, the cream of the crop?! A couple of other considerations – when looking at the greatest hits album – is what they represent. There are a few issues: the oxymoronic qualities; whether a band/artist, when releasing this album, is ending their career; a transfer to another record label – a lot of the releases are seasonal and designed to get a bit of quick revenue. You can argue whether some artists (who release greatest hits) have actually done enough to warrant that acclaim. I think Snow Patrol released their version of greatest hits – one would struggle to name a few songs of theirs that really remain in the mind!

PHOTO CREDIT: Unsplash

There was a time when the biggest artists released greatest hits collections; some, if their catalogue was wide enough, produced a few volumes. It seems, at a time when there are fewer long-lasting acts; the idea of that definitive album is a thing of the past. You can talk about quality and whether a certain artist has enough decent material to warrant a greatest hits album. A lot of artists, when they put these albums out, are switching record labels and, in an attempt to get their money’s worth; the label will throw together a handful of the best songs for the fans. That sounds cynical but, in a way, it is a way of celebrating the end of one phase of their career – before embarking on the next part. Others see these albums as a way of signalling the end of a career. In Radiohead’s case; there were genuine fears they were bowing out of music. That is not the case as, in the decade since their greatest hits record; they have released two further albums – 2016’s A Moon Shaped Pool is considered one of their best. In a lot of cases, it can be the impetus to reignite the spark and try something new – almost like shedding the skin or seeing how far they have come. In a lot of incidents; artists are nearing the end of the road so, in one final fling, they release their ‘best of’ to their fans.

IMAGE CREDIT: Getty Images

One of the funniest things about the greatest hits record is why artists feeling the need to put a new song into the pack. Technically, if you are giving fans your best songs; how can a brand-new song constitute as ‘greatest’ – as it is foreign and, in most cases, weak! Blur did this in 2000 when they added Music Is My Radar to the package – a song that, whilst not weak, was not exactly as statuesque as some of their classic material. Given the fact a band like Blur has more than enough genius material in their locker; it makes me wonder why they needed to toss in a new song?! Maybe a standalone single would be better; putting it on their next album? To me, that kind of inclusion signals a downturn in fortunes – they want to show they still have new material coming out but not confident it will resonate. Again, like Radiohead, Blur have put out two albums since their greatest hits – The Magic Whip was released back in 2015.  I am not sure what the fate of Blur is but, in 2000, there was an inkling things were a bit strained and not as they were. It is okay putting out these collections but is the one-shop approach to your best material an opportunity to get more money from your fans?! A lot of these albums, usually, are released near Christmas – where people are spending more – and there is that seasonable aspect. The past few years have seen fewer greatest hits collections come out, mind.

PHOTO CREDIT: Unsplash

That makes me wonder whether people are favouring studio records – or if streaming has made the notion (of greatest hits) no longer financially viable. It can be quite hard asking people to shell out more money for an album that is, in essence, available on other albums. The reason I snapped up Blur and Radiohead’s greatest hits is the fact I wanted that definitive, classic collection – even if, like many, I felt there were some obvious exclusions. It is good having all the best songs together without the need to skip tracks. I feel, however, a band/artist’s best work is valid only when released in the context of a studio album. I like hearing the big hits – but only when they are surrounded by those lesser songs. It is goof building up to that epic song: the emotional hit you get cannot be described. It can be quite odd hearing all those songs from different time periods and forming a single experience. The scattershot, fragmented nature of the greatest hits album means a lot of people are sticking with studio albums. In some cases, in the past, there was that aim to get people interested in an artist – the greatest hits album was a good way of getting new fans involved and building up a new base. I feel, however, there are some artists that warrant that ‘best of’ album.

IMAGE CREDIT: Getty Images

I wonder whether, given the changing nature of consumption, people will demand single-disc collection. I feel services like Spotify are more popular because, essentially, anyone can collate their own ‘greatest hits’ – any artist from across time. There is something pleasing having a C.D./vinyl where you have the best hits of your favourite act. I remember the pleasure of owning The Beatles’ 1 – where all their number-one songs were put together. They have their ‘red’ and ‘blue’ albums – the former had all their earliest hits; the latter took it from 1965-ish to the end of their career. Maybe the nostalgia I feel is best left in the past: modern music is much more pick-and-choose. People do buy albums, of course, but we live in a time when playlists are everywhere. One can easily assemble their own assortment of songs so there is less demand for the traditional greatest hits packages. I can think of a few modern artists who, in time, should put out a greatest hits C.D./vinyl – I would like to see one from Queens of the Stone Age and Arcade Fire – but, apart from that; I am not sure whether any spring to mind. It is those legendary artists whose work needs to get to the next generation – they are primed for a single/double-disc honour. Perhaps it is a sign of a past time but I, for one, think there is something sad regarding the decline of those best of/greatest hits albums. Maybe we will see them come back in but, as digital demands dictate direction; perhaps there is no way back. Thinking about it has, at least, compelled me to spin me the greatest hits albums from Blur, The Beatles and Kate Bush…

 PHOTO CREDIT: Unsplash

I might dig out Radiohead’s whilst I am at it!

FEATURE: The BRIT Awards 2018: The Nominations Playlist

FEATURE:

 

The BRIT Awards 2018

IN THIS PHOTO: Dua Lipa/PHOTO CREDIT: Getty Images

The Nominations Playlist

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EMMA Willis announced the nominations for…

IN THIS PHOTO: Emma Willis/PHOTO CREDIT: Getty Images/Next

this year’s BRIT Awards yesterday. The biggest revelation from those announcements was the fact Dua Lipa is the most-nominated artist. She has been nominated for a total of five categories: Best Female Solo Artist, Best Breakthrough Act; Best Single (for New Rules), British Album of the Year (for Dua Lipa) and British Artist Video of the Year (New Rules). It is a great haul for the newcomer – who enjoyed a stellar 2017. She scooped a rare number-one for New Rules last year – and the first female artist to do so since Adele’s Hello in 2015 – and impressed critics with her eponymous debut album. That record boasted instant Pop songs with big choruses and plenty of hooks. It is not a surprise to see her gain so many nominations: Ed Sheeran got four nods and, given the year he had (last year); it is a shock to see him overtaken. The ceremony will take place on 21st February and we will see whether Dua Lipa can win all five awards. I have seen the categories and I would expect her to walk away with three awards: Best Breakthrough Act, Best Single and Best Artist Video of the Year. New Rules broke ground – and rules! – so it should be the odd-on-favourite to win the singles category. The video for New Rules is not as innovative as her latest (IDGAF). She should still walk away with that prize - as it is an integral part of the record-breaking song. Stormzy’s Gang Signs & Prayer is, rightly, nominated in the album category – I fancy that to pip Dua Lipa – whilst Jessie Ware seems like a more sensible choice for the Best Female Solo Artist award.

Sheeran will probably win the Best British Male Solo Artist award but I do not fancy him to win any of the others – he has an album, song and video nomination, too. It will be a big night for Dua Lipa: it will be an important one for female artists. In a year where forecasters have predicted a Pop storm; the balance-shift of genres and genders – it could not be a male-heavy ceremony that put the spotlight on someone like Ed Sheeran. Let’s hope the hype and buzz translate to awards for Dua Lipa. She is an example of a modern Pop artist with more guts and vocal variation than most of her peers. Even though she has an army of producers and writers helping her music get to the masses: I fancy she will step out on her own in future albums and establish herself as a stunning songwriter. The night will see Ed Sheeran, Stormzy and Sam Smith play – Rag’n’Bone Man is tipped to play, in addition (he is nominated in three categories). Dua Lipa and Foo Fighters will play at the awards; with President Trump gaining a record level of unpopularity in the U.K., many hope that will see the fiercest and boldest nominees (Liam Gallagher and Stormzy) spout-off and let him have it!

IN THIS PHOTO: Liam Gallagher/PHOTO CREDIT: Getty Images

Say you want about the BRIT Awards – they are not seen as credible and relevant as other options; too focused on the mainstream and Pop – but there is a good mix of artists on show! I am pleased for artists like Dua Lipa but more interested in other acts who have gained nominations. Maybe Dua Lipa will be crowned best female but she is up against stellar competition: Kate Tempest, Laura Marling; Paloma Faith and Jessie Ware are all strong and popular artists who could win it. The British males on show will include Liam Gallagher, Stormzy; Loyle Carner and Ed Sheeran (with Rag’n’Bone Man). I hope Loyle Carner wins as I loved his album, Yesterday’s Gone, and feel he is one of the strongest newcomers on the block. Let’s hope Wolf Alice win in the British Group segment. The xx and Gorillaz are worthy adversaries but Royal Blood (a duo rather than a group; overrated) and London Grammar (disappointing second album) should be seen as outsiders – although I have a feeling Royal Blood might win! Those are the only categories where the ‘cooler’ and more credible British artists could get a say. When it comes to albums, singles and videos – that is likely to go to a Pop act. Sampha is nominated as one of the best breakthrough acts: Dua Lipa is likely to get that, one would imagine.

IN THIS PHOTO: HAIM/PHOTO CREDIT: Getty Images

The international nominations always excite me – even though the BRIT Awards are noted for recognising British artists! I would think Kendrick Lamar will scoop International Male (Beck and Childish Gambino are strong rivals) whilst the group category has Arcade Fire and HAIM among its nominees. Lorde and Björk are nominated for International Female and, whilst I feel Björk should win every award she is up for – I was more impressed by Lorde’s sophomore record (Melodrama) and feel she warrants the gong. It is good to see a lot of female musicians nominated; although, British Breakthrough Act has one female nominee (Dua Lipa); Dua Lipa is the only woman nominated in the album category – HAIM are the only all-female group nominated for International Group. The O2 will play host to the event and, when the winners to the ten categories are announced; we should see some pretty special happenings – I know Dua Lipa will have a big night regardless of the number of awards she takes home. I really would like artists like Liam Gallagher and Stormzy to whip up some excitement and controversy – the thing becomes too boring and conservative if someone is not swearing, throwing stuff around and slandering a politician! It will be an exciting night and, as the Playlist below shows; the music nominated is certainly varied and cross-genre! Let us see who goes away with the most statues on the night. The BRIT Awards always create some sort of news so, as 2018 has just got underway; I hope one (or more) artist can…

IN THIS PHOTO: Stormzy/PHOTO CREDIT: Getty Images

DO something special.  

FEATURE: ‘Generation MTV’: Revisiting a Time When the Iconic Music Channel Ruled the World

FEATURE:

 

‘Generation MTV’

IMAGE CREDIT: Crush Creative/Behance

Revisiting a Time When the Iconic Music Channel Ruled the World

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I promise this will be the last of my pieces…

IMAGE CREDIT: Getty Images

that take a very long, hard look at music’s past. It seems illogical that in the ultra-modern, fast-and-frantic arena of modern life there is not at least one music channel. That is unfair because we still have MTV and VH1! I will mention them but I am thinking about the way we digest music and how life gets away from us. There are so many shows across the board and channels coming out of our backsides. We have YouTube and websites that offer video content; there are countless T.V. channels and you can get anything you want with the touch of a button! It is all impressive and means the average consumer is spoilt for choice – one can get abreast of all the latest music happenings and news. I have been thinking about the way we consume and how gigantic the market has become. Music is growing all the time so it is only right T.V. and the Internet should catch up – to ensure all the data and visuals get to our eager eyes. MTV still exists, as I said, but it is a station that has a different role. Nowadays, there are music videos played on it but they do a lot of original programming. It seems like the majority of their content is some form of reality (T.V.) show – with a tenuous musical foundation.

IN THIS PHOTO: A promotional shot from the MTV show, Ex on the Beach/PHOTO CREDIT: Getty Images

You can, if inclined, watch a show about Hip-Hop lovers and spurned girlfriends; U.S. upcoming artists and their interesting/highly staged lives. We have entered a time when ‘reality’ takes the form of scripted domestic dramas masquerading as real-life events. VH1 does the same and it seems like the words ‘music T.V.’ are fungible. It need only have a vague concept of music to qualify for a spot on the channel. The stations do have time for new music but it is galling seeing so many shows – not revolving around musicians and albums – taking so much time up. Maybe music has changed so much the nature of demand means sound has overtaken vision. We can get the latest videos on YouTube - so there is not a great need to see them on the T.V. I guess that is the consequence of an age that has fostered so much technology and machinery: we do not rely on more conventional options for our content anymore. I know MTV still holds a valuable place in music but, as other services have usurped its position; it is worth remembering a time when the station was the pinnacle of the music industry. It was in everyone’s homes - artists made videos just so they could get on the station. It was a huge time - and one that leads me to the start...

MTV was launched in 1981 and arrived at a time when stars like Michael Jackson were looking for an outlet. He is someone I will return to but, as the decade was starting to heat up; this exciting and new station arrived. It was, essentially, video jockeys launching the latest video – they would lead us into a track and then, like magic, the biggest video from our favourite artists. Nothing as youth-orientating and cutting edge had come into the world to that point. The station helped launch the career of artists like Guns N’ Roses and Michael Jackson. Jackson, in fact, caused controversy simply by being himself. The notion of putting a black artist on a popular channel seemed like a mistake waiting to happen. If it were to happen at this time there would be an outcry and the station would be in serious trouble – it was not seen as a huge deal by the public in the early-1980s. The only reason Jackson became a fixture on the station was the success of videos like Billie Jean. The iconic video resonated and got into the minds of the population. After such resistance and racism: the public reacted and, before long, that led to the inclusion of the fourteen-minute video for Thriller. Jackson helped open the door for black artists like Lionel Richie – acts who would have struggled to get their videos featured simply because of their skin colour. The first video on MTV was The Buggles’ Video Killed the Radio Star and, in 1981, the idea of a music video was a strange thing.

Rock bands and idols were given a platform to put their music on. Bryan Adams, Blondie and Prince were featured; The Police, The Cars and Duran Duran were stars of the 1980s airtime. MTV was a place where classic Rock acts and newcomers could mingle alongside one another. The fact videos could get to the masses meant artists were taking risks. Michael Jackson’s choreographed promotional meant acts like Madonna and Kate Bush became more daring in their videos – the latter’s video for Running Up That Hill (A Deal with God) features a beautifully sumptuous and fantastic dance between Kate Bush and a male dancer. The fact artists of colour (color) had to struggle to get screen-time before 1983 – when the barriers were truly down – was a mixture of prejudice and the original notion for MTV: a Rock channel that was going to play the best bands around (who were mostly white artists). The early days were fraught and exciting but the 1980s beginnings did create landmarks. A safe-sex campaign was launched in 1985 and the rising AIDS epidemic meant a mainstream station took action to connect with its young audience – prompting them to use contraceptives and be aware of the dangers. Something like that would be radical in 2018: the fact a national campaign ran on a popular music T.V. channel was a huge move.

It was not until the 1990s when the channel began to really forge into the consciousness... Public figures like Bill Clinton became fixtures – helping him become President of the U.S.A. – so the station gained a huge sense of purpose and power. MTV also featured – in the 1980s – its annual Spring Break shows (starting in 1986) and broadcast feed from Live Aid in 1985. It was a multi-discipline station that was engaging in popular culture but did so with a serious bent. The station kept abreast with every wave and trend in music. By the early-1990s; a combination of Pop-friendly and Hard-Rock acts were featured: Michael Jackson, 2 Unlimited and New Kids on the Block could often be seen in the same segment. Rappers like Tupac and Snoop Dogg were given exposure and it meant genres like Hip-Hop and Rap could get to the masses. It was exciting seeing the full spectrum of 1990s music get airing on MTV. If anything; music television is more compartmentalised and segregated than it was in the 1990s. The station was all about putting quality videos up: there was not the viewpoint artists did not fit in; that it was all about Pop/mainstream stuff. Videos, because of MTV’s rise, became more adventurous, funny and creative. Directors like Michel Gondry, David Fincher and Anton Corbijn showcased videos for the likes of Madonna, Nirvana and Beck.

It was a place where inventive creatives could push boundaries and dazzle viewers. As Grunge swept and artists like Nirvana, Pearl Jam and Alice in Chains took the reins; they were wrestling with popular stars like Tori Amos, PM Dawn and Björk – it was a magic time for music videos! The 120 Minutes show featured Alternative sounds Alternative Nation focused on underground videos. Older stars could find a place but it meant their music was becoming more inventive and bold – so they could keep up with the younger generation. Consider an artist like Peter Gabriel launching the Sledgehammer video in 1986. Few could claim that was anything other than an attempt to make a mark and rival the big names out there. Artists were not sitting back and producing limp, uninspired videos. From A-ha’s Take on Me to Madonna’s steamy and provocative videos of the 1980s/1990s – it was a time when artists were throwing their all into videos. That was mirrored in the music itself - and that relationship was part of the reason the scene changed and strengthened. Artists had another outlet – apart from radio – where they could speak to the public. By 1995, the station was playing over a-third fewer videos than ever. The ‘novelty’ of only videos meant people were going elsewhere. The introduction of social media and YouTube – the following decade – meant the station had to modernise and adapt.

It was inevitable the station would slump at some point but that near-fifteen-year period of rule helped change music and redefine the music video as we know it. So many young artists today source MTV as inspirations: seeing it as a youngster and those artists inspire and campaign. It was an exciting time and, even towards the end of the 1990s; there was still an important role for the station. A great article in Vanity Fair looked at the rise of MTV and testimony from people who were around at the time – and what it was like being part of the phenomenon:

“Billy Idol, musician: Radio guys would take one look at my picture with the spiky hair and say, “Punk-rocker. Not playing him.” Then MTV airs my videos, and kids start calling up radio stations saying, “I want to hear Billy Idol!” It really broke the thing wide open. We’d never touched the charts, and the next minute we had a Top 10 album. It was amazing. Nobody’d ever noticed me before. Now I’m walking down the street, and people are yelling “Billy!”

Stan Cornyn: It was reported back to us that records were selling in certain cities without radio airplay. We asked “Why?” and it turned out that there were music videos playing on MTV. An act like Devo is dancing around in their funny masks and stuff like that—and they take off in a market where nothing else is happening. You got to be an idiot not to say, “Something is happening here, let’s pay attention to this.”

Marcy Brafman: I knew we were doing something right when I gave my dad an MTV T-shirt. He’d wear it, and the kids would want to mow his lawn for free”.

IMAGE CREDIT: Getty Images

Despite the fact the MTV rollercoaster made history: labels and bosses were not impressed by its debut in 1981. It was not the most fashionable idea, and so, an advertising initiative was pitched. There was scepticism – but something had to be done:

“Les Garland: George comes rolling in with his easel and says, “Garland, who does MTV belong to?” Warner Amex. Wrong. “Pittman, who does MTV belong to?” He’s got this trick-question thing going with everyone in the room. Finally he says, “MTV is the color-TV phenomenon, you guys. If you are the kid on the block with the first color TV, all the other kids come to your house to watch it. Same with MTV. It’s that cool. It’s theirs, the kids’, it belongs to them. I came up with a campaign for a breakfast cereal called Maypo. We had sports stars like Mickey Mantle and Wilt Chamberlain saying, ‘I want my Maypo!’ This campaign is going to be a bunch of rock stars saying, ‘I want my MTV!’ Garland,” he goes, “can you get Mick Jagger to say that?” I go, “I think so.” He goes, “That’s who we got to get first. Mick Jagger is the most important rock star in the world. If we can get him to do it, the rest of them will be easy.” And I go, “I fucking love it”.

The rest is history - but I can understand why it was not fashionable and marketable at the start. When big artists started putting their voices to the cause, and genres/big artists mixed with one another – it became a hit and embed itself into the fabric of popular culture.

I wonder whether we could ever see another MTV again; something that captured the mood and flavour of the times. If the station is, essentially, a portal for poor reality shows and the odd video here and there – back in the 1980s and 1990s; it was a truly revolutionary station that opened up music and helped launch the careers of some legendary artists. The fact they gave a voice to black artists (eventually) was groundbreaking; showcasing myriad genres on the same station was unheard of. It made directors more inventive and reactive; artists made their music more ambitious and controversial – just so they could put that into a stunning music video. The world of music has changed but there is still a desire for a music station that pulls together old and new; the freshest promotional clips and the classics we all know and love. Maybe that will not happen on MTV but who knows: perhaps a new station will crop up that mixes videos with features and spots; news, music shows and documentaries. That would be awesome and I, for one, would do anything to see it happen. Dire Straits talked about – on Money for Nothing – about free chicks and money for nothing. You can forget all of that: all I really want is…

IMAGE CREDIT: Crush Creative/Behance

MY MTV!  

FEATURE: Free Billboards Outside, Ebbing Misery: Is It Possible to Have a Career in Music Journalism and Retain Financial Security?

FEATURE:

 

Free Billboards Outside, Ebbing Misery

ALL PHOTOS: Unsplash

Is It Possible to Have a Career in Music Journalism and Retain Financial Security?

__________

BEING working-class and a ‘certain age’ might preclude me…

from most of the best-paid jobs in music. A few of my earliest pieces this year revisit ideas I have tossed around before – one would hope my powerful and inspiration pieces (scan for irony!) would affect some sort of change! I am in the position, like many aspiring writers, where we want to project influence but are unable to – relying on our own resources and limitations of the free press. There is a definite austerity in music journalism that means the purse-strings are tighter than ever before. Gone are the heady days of NME when they were the must-read publication for the music masses. There are paid, quality music magazines about but fewer people are buying them. The online nature of music journalism means there are dozens of sites that can offer the reader the of-the-minutes new and events in the world of music. It is hard to produce a profitable magazine/music site and pay employees to. With rumours music journalism is on its last legs – in terms of the big-guns and profitable options – it makes me wonder whether an internship in music is a good thing. That is the only way a lot of people have in. Most labels, magazines and music studios have schemes where, unpaid, a hungry applicant can learn the ropes and get a first-hand look at how the industry operates. If you are lucky, months down the line, that might translate into a paid job.

Even if you are offered a job at the end; the wages can be pretty low and you have to work years before you are racking in anything vaguely impressive. That may be true of every job but there are those, like me, who have been writing for years and feel qualified enough to get a well-paid music job. Is it even possible in 2018?! Unless you are an established writer for a big paper – The Guardian or The Times, for example – you cannot really command too much of a pay-packet. Some of the best music publications around (MOJO among them) have paid positions but they are usually reserved for those with previous experience. Last year, when looking at how journalism still favours the middle-classes; I mooted the reason mainstream music was mostly middle-class was due to a lack of proletariat writers in the media. That may seem like a lazy viewpoint but there are so few working-class idols making music to bond the people – maybe, fearful there are few like-minded souls in the media who will respect and proffer their work. That is why I want to get to a position where I can change attitudes and create a genuine sense of optimism. That may be a bit pretentious but music journalism needs all the ambitious and hard-working journalists it can get.

I suppose the same is true of every musical corner: you need a lot of experience to command the best-paid jobs; there is a lot of grunt-work before you get that breakthrough. A lot of sideways moves and scrimping means the average music journalist might take years to get to a paid position. An interesting article was published in The Guardian back in 2014:

“Though laudably aimed at creating a fairer workplace for budding music industry professionals, the tougher enforcement from HMRC – with no alternative system to help young people gain the experience they need – could potentially be just as detrimental as it is helpful.

At the Liverpool Institute for Performing Arts (LIPA), our third-year placements do not fall within the remit of the HMRC's "crackdown" because – crucially – they are an integral part of an undergraduate degree. What worries us, though, is that some music companies will not realise this, and will be frightened off helping young people gain experience by HMRC's aggressive approach.

Fear of penalties

The concern is that, with unclear guidelines and the threat of a £200,000 fine looming above their heads, HR departments of music companies might close the door to all internships, rather than checking whether they are acceptable or not.

At LIPA we have experienced first-hand the problems this sort of ambiguity can pose. Recently we had to respond directly to one company who almost pulled out of a genuine student placement because of concern about how the business might be portrayed in the light of the additional scrutiny focused on work placements.

  We work closely with reputable music companies, and encourage our third-year students to do their research and then approach them independently, to set up a placement they feel comfortable with. At LIPA we regard this experiential learning as a vital element of the course and critically important in helping students to find paid employment when they graduate.

One might question why HMRC has decided specifically to target the music industry when there are, in my opinion, much more prominent offenders. Take for example the prime minister's recent assertion that exploitative treatment of interns is "unacceptable", yet it is reported that his own party offers non-paid intern positions to young graduates across the south of England.

Although there are plenty of reputable organisations out there, a damaging few take advantage of students by giving them menial tasks to complete such as distributing leaflets or picking up litter, and these companies undoubtedly deserve to be both penalised and monitored.

Securing a genuine internship

Young people undertaking any unpaid work experience placement or internship need to make sure they know what they are going to be asked to do before they commit. If a company can't be specific about what will be doing, then the placement should not be accepted.

At LIPA, we advise our students to look carefully at any voluntary opportunity to ensure that it is a genuine, mutually beneficial arrangement. We have also refused to distribute "opportunities" to students where we see that they are really thinly veiled attempts to get free labour.

So how do we begin to combat the problem, so that students and graduates still have access to real working experience without running the risk of exploitation? It's clear that changes are needed, as the current system of unpaid opportunities clearly favours those individuals who have the private resources, or family support, to enable them to work for free for some time”.

I might be taking legal liberties quoting from that article with such ferocity and lack of editing. I am willing to walk a plank of litigation to show that there is another side to the debate. There are some institutions that provide the national minimum wage and treat their interns fairly. I am not suggesting every company rips-off their interns – or they are all treated fairly – but there is that clear danger of working for a company and having to survive on nothing. There are apprentices in every industry but few that offer no money – maybe only the cost of travel. That instantly excludes everyone bar students and the wealthy. If you have enough money in the bank to survive a few months wage-free; an internship might be viable and stress-free. Privileged folk can take that route and students, who do not pay rent and get their parents to fund them, are the most south-after sector. The fact there is very few big-money music publications around means, yes, you might be getting invaluable experience and exposure at your dream company – will that ever lead to anything substantial and worthy?

Maybe a writer like Alexis Petridis can garner a high-five-digit salary but one suspect even he gets less than deserved. He has been in the business for years and would have started at that entry-level position. I worry, years down the line, there will be fewer magazines and websites offering any chances whatsoever. It means those getting into an internship today might not even have a job this time next year. It is a volatile industry but there are some publications and solid foundations – the broadsheets and best magazines – who will survive no matter what happens. There is a lot of music to cover so one cannot say there is a tariff on numbers and scope. The best way to dominate and stand out is to employ more people and diversify your pages. A site/paper like The Guardian could get even further in the industry if they sourced their talent from a larger pool. They could do features on Urban artists and record interviews – get someone who knows their stuff in the field – or do a series of features that look at different sides of music. YouTube and subscription sites mean advertisers may money – you’d suspect a few of the bigger newspapers have fairly deep pockets.

My problem is not necessarily to do with the efficacy and practices of the internships: I am concerned with the class imbalance and how the better-off are gifted more opportunities than those from less-well-off backgrounds. Many sites need a ‘relevant’ degree - which usually means something based around (but not in) music. A lot of writers do not know what they want to do when they are eighteen/nineteen so it is understandable that crystallisation comes a few years down the tracks. Degrees are expensive and many do not want to spend that much money learning a new skill – and accrue that debt and have the burden on their shoulders. There should be better ways around that problem than creating a divide. Middle-class and better-off have better contacts and can get through the industry quicker. They might have connections in the music business or, at the very least, be in a much better financial situation. Money is a big reason so many sites are not offering paid positions; it is a reason why music media is going online (rather than staying in print) – and it is one reason why people fear the industry will be marginalised in years to come. I have hope there will be a sustained interest in music journalism and, for certain outlets, they can remain in profit. I have spoken to a few people who have gone through internships – in record labels – and the only reason they have managed to survive is because they had more money in the bank (or their parents could fund them).

It is a hard industry but, if you find a company that can guarantee a paid job at the end of the internship – grab onto it and ensure you are treated fairly. Those who go through unpaid internships cannot expect to receive minimum wage for a long time after that. It is unfair, regardless of experience, to pay so low for so long. From my viewpoint; I want to work for someone like The Times or The Guardian and bring my working-class background to the role; write about a variety of things and exert some form of influence through my writing. I see there are internships with every publication/site but they are usually three months at the least. That means I would need to commute and pay rent for that time without earning anything. Even if travel is covered; I would be in the red and in trouble. Even after I complete my internship; there is no guarantee a role will come out of it – the idea is to gain experience and the skills needed to get a role in journalism/music. I would make the sacrifice were there a guaranteed job that paid a decent amount. Maybe I am naïve but I feel like there should be a reward for anyone who embarks on an internship. I wonder whether it would be possible to at least offer some financial remuneration to those who go through an internship. Maybe covering the cost of travel in addition to a little bit on top would be more attractive – and mean more would take that risk.

Maybe a better approach into journalism/production etc. is to work in paid jobs that have a similarity to what you want to do. You can work in the media department for someone like BBC or a role that offers something practical and useful. It might not be the most direct way in but you can earn money at least and have that on your C.V. I wonder whether there should be ways one can work in the industry if they take a degree in Music. They could study and then, with that education and knowledge; apply that directly to the role. Rather than wait for the degree to be over, and that debt to mount; offer the writer/talent a paid position so they can combine education and training. Maybe that is pie-in-the-sky but I feel the only way we can attract new and talented writers is by providing paid positions – or ensuring internships guarantee a job (well-paid) at the very end. It may seem like a rather costly way of ensuring we foster the next generation of journalists but, for an industry that is being accused of lacking relevance…

IT may be the only solution.  

FEATURE: Unfinished, Bittersweet: Why Classical Elements Elevate Music to New Heights

FEATURE:

 

Unfinished, Bittersweet

ALL PHOTOS (unless credited otherwise): Unsplash

Why Classical Elements Elevate Music to New Heights

__________

A few days ago…

I wrote a feature that looked at instruments: whether we are still picking them up and if, in a digital age, there is a need to learn one. It was interesting to investigate – I came out of the piece having learnt a lot about buying habits. I feel we are still buying instruments but in a less conventional way. The Internet is dominating and, although there are music shops on the high-street; we prefer the choice and value one gets from online sites. It makes me wonder how music will change in the coming years. Will artists favour machines and simulate instruments on digital tablets?! I wonder whether the conventional Rock sound will be overtaken by Electronic/Pop; a move towards something more colourful and less jagged. That is a simplified definition (of the genres) but I worry there is too much dependability on machines and electronics. I lust after the natural sounds instruments provide. I have been looking back at my favourite songs and there is a common component that comes out: a romance and elegance that can only be produced through Classical strings. It is not only strings, in fact: horns and brass; timpani and orchestral strands help take a song in a new direction. Like Jazz; there is a stuffy sector who feels that kind of music is for a certain person – it is niche and does not warrant any serious acclaim.

The title of this piece refers to two songs that employ some rousing strings: Massive Attack’s Unfinished Sympathy and The Verve’s Bittersweet Symphony. Both songs are considered anthems of the 1990s; they have got into the history books and are songs we, rightfully, hear a lot. It is more complicated than saying the strings helped get the songs to more people. The songwriting is extraordinary and the songs arrived at a time when the public craved something wonderful. Other songs in my rotation – like The Beatles’ Eleanor Rigby and Kate Bush’s The Man with the Child in His Eyes; The Cinematic Orchestra’s To Build a Home and The Streets’ Turn the Page – contain Classical input and instruments that elevate it beyond the ordinary. I am hearing a lot of modern artists assimilate strings and brass into their music. It can be quite expensive hiring musicians – many do not want to reproduce Classical strings and horns through their laptops. Whilst booking a professional musician adds a cost to recording - the result of adding that into the mix can make a huge difference. There is a perception that certain genres/instruments cannot be adapted and crossed. If you hear rousing strings and blossoming horns; teasing percussion and symphonic lust – that does not have to remain in Classical music. Look at the history of popular music and you can see the way artists have incorporated more ‘highbrow’ aspects into their songs.

IN THIS PHOTO: Max Richter/PHOTO CREDIT: Deutsche Grammophon

The reason I wanted to explore it due to misconceptions and underuse. Classical composer Max Richter has been causing earthquakes with his scales; setting his music to the words of Virginia Woolf (her last words, in fact!). All of the bands I grew up with – from The Beatles to Blur; Radiohead and The Rolling Stones to Led Zeppelin – have used Classical sounds in their music. Consider epics like Kashmir (Led Zeppelin) and A Day in the Life (The Beatles); more emotive tracks like The Universal (Blur) and How to Disappear Completely (Radiohead) – shivers are created and one is provided something truly spectacular and spine-tingling. It is the extra ingredient and kick that takes the song to rare heights. Maybe those bands have a bigger budget – and could afford to indulge their ambitions – but hiring Classical musicians need not break the bank. Modern music is utilising a lot of electronic sounds and, whilst that is proving popular, I think there is greater flexibility and potential inherent in Classical avenues. Any emotion can be simulated and produced in this corner; there is so much untapped potential artists are overlooking. There is, as I said, strings and Classical instruments need to score something quite refined and studious. Over the past few years; we have seen various songs and film-scores reimagined by using an orchestra. From Pete Tong’s Classic House project through to the Grime Orchestra/IXtra Grime Prom – there are collisions and unities that have taken one style of music and added new light and potential.

I am not a huge Classical treasurer and someone who grew up on that type of music. My exposure came young but I was always a little off-put by the lack of vocals and variation. There is a range of emotions and styles explored in Classical music: it, in its way, created sub-genres and styles of music we hear today. Bigger, edgier Classical pieces had the element of Grime and Hip-Hop; pastoral suites had a more Folk/Pop vibe; those epic, ever-changing cannons remind me of the Progressive-Rock greats. Transpose that connection and it is clear, consciously or not; artists from the past few decades take from Classical music and the variety inherent. Those who overlook Classical music ignore how complex, intricate and detailed the music is. The amount of work needed to create a Classical piece is immense. Maybe that amount of work – replicating it in the modern age – is quite daunting for anyone trying to update the wonders of the seventeenth and eighteenth centuries. I am not suggesting every artist needed to hire a forty-piece orchestra and book Abbey Road for a professional record - few have the potential and money to do that! There are artists, through all genres, that sprinkle in a little bit of Classic here and there. The common thread is how much is added down to something simple and unexpected.

Woodwind and brass can take a song in a new direction and provide extraordinary romance and emotion. Strings are nimble and spirited; they have malleability and can project in every direction. Classical music is one of those genres that can fuse with any other type of music. From Grime and Pop to Folk and Blues: there are no reservations; everyone is welcome to use whatever they feel. It can be quite tricky knowing what to incorporate into your music and how much – striking that balance is always hard. What amazes me is how few of the mainstream stars out there realise the potential of Classical. They put huge beats and layer electronics up; lots of fake sounds and synthetic charm to produce something quite anodyne. It can be rather jarring hearing something like that come out of the speakers: there is endless potential available to the songwriter who takes that gamble and breaks from convention. It is only a small group of musicians who are unaware of Classical music and what it can do. Maybe prices are causing restriction and limitation. One needs to get a genuine instrument and player to get the sound just right. It can be hard getting a part how you want it so, with the hire costs and studio time; the final bill can be quite steep – for something quite minor.

PHOTO CREDIT: Getty Images

Rather than consider Classical music as a necessity: it might be worth thinking about it as a treat. Every artist will go through fallow periods and lose a certain spark of inspiration. I feel a wonderful string quartet or horn section can rekindle a passion and vein of creativity. It need only be a bassoon or cello thrown into the mix to give that song unexpected nuance and vivacity. I feel genres like Folk are bonded closest to Classical – that has been the way for a long way – but other genres are starting to get in on the act. Hip-Hop and Grime acts are fusing something dignified and high-class with music that has a distinct ‘swagger’. I am not saying Grime/Hip-Hop is low-rent and scruffy: the genres are all about keeping it real and projecting a sense of reality. Melting these disparate styles of music together could be risky and backfire. If done correctly; the effect is outstanding. I would urge more modern artists to look at Classical music and how, over the decades, it has been used to heighten some of our favourite songs. Classical music has been proved to relax the mind and can increase the I.Q. – a brief spike has been noted in college students (in the U.S.) after hearing a snippet of Mozart. It can nourish and improve the mind; heal the body and help aid those with anxiety.

A couple of articles I have researched online how Classical music have inspired modern artists. One of them, produced late last year, explored how Pop choruses connect with Classical music:

“One of the main ways that classical music has impacted today’s popular music is with the chorus. The chorus, or the short melody repeated throughout most songs, was first seen during the Classical era. A vast majority of songs we hear on the radio today are structured to include a chorus. It’s typically the part of the song we remember the most, and we have the Classical era to thank for it!

The Baroque period, which is often associated with classical music, also had a notable influence on contemporary music – particularly the rock genre. Many modern rock songs copy the original intensity and complexity that you’ll observe in music from the Baroque period. Several rock artists, including Led Zeppelin and Muse, have also stated that composers from the Romantic period influenced their music.

Many of today’s pop songs are based on a handful of chords and sequences that were discovered during the Classical period. When you listen to artists like Adele, you might not even recognize the rich history that has gone into the music. Lady Gaga has also adopted Baroque themes into many of her songs”.

IN THIS PHOTO: Adele/PHOTO CREDIT: Alasdair McLellan

The Guardian, back in 2014, explored another connection between Pop and Classical masters:

“Most pop songs are based on a dozen or so of the most familiar chord sequences that were "discovered" in the late 18th century. In the present age, someone such as Adele is an original singer because of her voice, her attitude and her style. But the chords and sequences she and most pop writers are using have been around for a very long time. Perhaps the originator of the three-minute pop song was John Dowland, way back in Shakespeare's time, but I think the modern pop song was created by Schubert.

Schubert was a remarkable talent. Melodies poured out of him. He wrote 600 songs, and, like today's songwriters, his intention was to write music that would be instantly enjoyable. There's not a moment where he is trying to catch you out or where you have to listen 10 times before you get your head around a song. He wants you to get it first time; there's verse-chorus, voice and piano underneath, and he wants you to remember the chorus”.

There are famous songs inspired by Classical music and the influence is clear. The problem I have is either artists are not aware they are influenced by Classical music – that or they keep the influence hidden. It seems Pop is the biggest proponent of Classical music: songs that hark back to centuries-old music; the same dynamics and structures that delighted audiences so many years ago. That is pleasing to hear and proves you do not need Classical instruments in order to reproduce the sounds and sensations of the genre.

It can be a particular phrasing or a similar melodic progression; the way the song unfolds and the key changes employed. We know the mental and spiritual benefits listening to Classical music. It can release dopamine and open receptors that make one happier. It calms and soothes; it promotes intellectual growth and has been shown to increase the I.Q. In terms of new musicians; we know Classical has played an important role for years now. I feel we can go further and take a more overt approach to Classical. Its benefits are numerous, and so, if you want more people to respond to your sounds and stick with you – it makes sense Classical music is the way to go, right? At the moment; it seems like Classical is being heard here and there; it is more theoretical and supposed than proven and evident. I would like to see the genre take more ground and feed into the mainstream more effectively. If we can do that; we can create a richer scene and one that goes deeper and improves the body and mind. It would compel younger listeners to listen to Classical and, in the process, take up some of the instruments they hear. The benefits are numerous, and so, let’s get a lot more Classical instruments/strands into music – in a more obvious, strident and cross-genre way. I am excited seeing where music can go this year and what trends emerge. My greatest hope – although it might not happen this year – is seeing Classical music play a much bigger role…

IN the sounds of today.

TRACK REVIEW: Blushes - Honey

TRACK REVIEW:

 

Blushes

PHOTO CREDIT: Ellie Merridale

Honey

9.6/10

 Honey is available via:

https://www.youtube.com/watch?v=eaNqE_0Sl8o&feature=youtu.be

GENRE:

Alternative-Rock

ORIGIN:

Buckinghamshire, U.K.

RELEASE DATE:

12th January, 2018

_________

THIS review not only allows me the chance…

PHOTO CREDIT: Ellie Merridale

to step outside London (again) - but feature a band who are turning a lot of heads right now. Before I look at Blushes and their latest single; I wanted to address groups who have male-female vocals; a special year in music and how, I feel, great bands/artists are picking up on a need to revisit that time; tight and solid acts who boast incredible musicianship; making the most of opportunities presented to you; how 2018 needs to promote artists doing things differently – how the Blushes crew can develop and strike this year. I will, as I say, look at Honey soon but, before then, I want to look at bands in general. There is a smattering of decent options in the mainstream but, for my money, it is the solo artists that is king/queen. I have talked about this a lot but the point remains: what has happened to the band-market in the U.K.?!  I will come to look at a year in music when bands ruled the roost but, in 2018, it seems the solo artist is still being tipped for greatness. We have had some half-decent attempts at a unifying band – The Amazons gave it a go; IDLES seem like they are in this for the long-run – and the best groups we have are in the underground. I really like PINS and The Big Moon – two female-led acts that are showing why we need to look at sexism in the industry. That is another point but, the reason I love these groups is the fact there is real invention and originality. I find the Rock/Alternative sounds of Royal Blood dull and limited – the guys not changing things up between albums – and I long for artists who go beyond the obvious and provide something sensational. PINS, especially, excite me and, yeah, there are a few other great bands (False Advertising and Yonaka; Anteros are another great act to look out for) but it seems, when you look at all the lists of ones to watch – it is the solo artists that are favoured.

PHOTO CREDIT: Ellie Merridale

Maybe I am painting a bleak picture but I am glad there are bands emerging that have the chance to overhaul the dominance of solo artists. Blushes excite me because, like the bands I have mentioned; they go beyond what is ‘expected’ of groups and have that sense of quality and dynamism. They can easily fit into the mainstream but, rather than compromise their ethics and settle for something easy – they produce music that gets you thinking and sticks in the mind. I suppose it is quite hard creating music that truly distinguishes itself – as there has been so much recorded! – but the guys do it with aplomb. You get (with Blushes) Alternative muscles and melodic touches; lyrics that paint beautiful, captivating scenes and inter-band connections that allow the music to fizz and pop. I do not think bands will completely reverse the (im)balance but I am confident the likes of Blushes will make headway. There is a need for a group who can fill larger venues but do so without producing aimless riffs and generic sounds simply designed to get the body moving. In order to compel the mind; one must take the initiative and expend more thought – that can be quite a chore for a lot of acts! Blushes have been together long enough to know what the industry expects. They are among the hardest-working bands around and have a style and sound that is hard to overlook. You can look out at the mainstream and discover the odd band that is worth a shot but that desire to foster a genuinely fantastic act is palpable. There are contenders working underground and I feel, in a few years, Blushes can ascend and exert a lot of influence. I have alluded to the songwriting and originality of the band (as reasons to watch them) but there are others, too: the connection within the ranks and the fact they are not your typical all-male band.

PHOTO CREDIT: Ellie Merridale

I have highlighted a few great all-female acts up-top but, like False Advertising; Blushes have that blend of male and female – In fact, like those groups; it is mostly boys but, happily, they have that single female voice. I am not sure why this composition is proving popular but I am glad to see a shift away from the all-men groups we grew up on. There is nothing wrong with them but I feel something extra comes through when you mix in a female voice. Many assume bands with being male; you have female solo artists/duos but, really, the guys are the ones in bands – that is a perception that continues to this day. Look around and we can see the fantastic female-only/female-led groups worthy of time and affection. One of the reasons I prefer my bands gender-balanced is the relationships and songwriting differences. Whether compelled by a brotherly spirit; you see a band like Blushes and there is something quite sweet and charming about their performances. They are all tight and professional but, I don’t know; you know their friendships are different. Whether a female member adds discipline or rules to a band: things feel different and it is pleasing seeing a mix of genders in a band. Blushes are very close but it is the way they come together on stage and in the studio that impresses. A lot of all-male bands tend to be in competition with one another. You get a sense there is a bit of friction and a struggle for power. You get a feeling the songwriting process is not as democratic and focused as you’d hope; there are fraught and tense moments in the ranks – without a sane, more rational voice keeping things level. That may sound like gender stereotyping but, with a female member; you have that more mature and calm spirit that can keep the members together and ensure things do not get out of hand. Blushes are not your stay-at-home-watching-Netflix kind: they have rawness and energy that, like Yonaka and PINS, means they enjoy life as much as anything.

PHOTO CREDIT: Lauren Keir

I digress, of course, but it is interesting exploring the sonic and interpersonal differences between all-male bands and those who have female members. That will not matter to Blushes but I think that is one of their strengths. It means the songwriting can be more varied and allow different emotions in. I hope these great male-female bands get the attention they deserve this year because I think the days of the all-male band owning the scene are long-gone. I am a big fan of solo artists but they are gaining too much focus and celebration. Blushes will make some big steps this year and are already preparing themselves for a busy time. I mentioned I would come to a special year in music: I am listening to a selection of songs from 1994. Just now, I heard a one-two from Hole and Nirvana: Beauty Queen (Hole) and About a Girl – MTV Unplugged in New York (Nirvana). There is, on my list, Pearl Jam and Weezer; Portishead and Oasis – some Blur and Pulp to spice up the pot! Rather than list a selection of artists from my favourite year in music: I wanted to show why artists should look back and take note of that time – as Blushes are, to an extent. You can quibble it was a better time for music and things were easier then. The reason why bands were popular and dominant during that time was what they were saying; the sounds were original and they were breaking ground. It is harder to break ground this many years down the line but, those new acts who do not have commercial pressures, have an invaluable treasure-box of sounds to source from. Look at 1994-released music and listen to the variations and quality! I admire artists unwilling to repeat the past but I feel too many are copying what is already out there or creating music that lacks real wonder and memorability.

PHOTO CREDIT: Toby Henley

Blushes, I sense, have one eye on the present but keep their mind trained on the past. I am not sure how much 1990s music they have in their collection but I can hear the same innovation and spirit present back then. Maybe there were fewer limitations and hurdles in 1994 – fewer musicians and streaming was not available then – but I yearn to hear bands that take from that time and update the sound. I pick up on some of those U.S. guitar strands – Pavement and Hole – but there is a pleasing layer of melody and populism – Blur and Pulp-y in places – with some jagged edges that remind me of the Grunge/Alternative artists of the time. Whether this various strands and patterns will coalescence into something biblical down the line, I am not sure. I hear the band and get that sensation of old and new; the way they can stay rooted in the current-day but remind one of finer days. Let’s hope this business ethic continues in 2018 as they make plans and charges. Honey, as I will get to, is a song that announces their place in music and singles them out for great things! I have alluded to the male-female tones present in the ranks but, another reason they are so celebrated is their musicianship. That is a component that is not often highlighted when talking about bands. Blushes are exceptional musicians who throw their all into every song. Their songs are tight and ordered but there is room for rougher edges and some interesting diversions. Every note and idea packs a punch and there is so much richness in their music. I am not sure how much time they spend rehearsing but I can tell a lot of effort and work goes into their songs. In an industry that demands artists are prolific and always-visible: Blushes take time to craft music and ensure they are putting out the best possible product. The Jazz notes of Tiffany Marie add something magic; the electro-acoustic rhythms are sublime; it all comes together in a wonderful, heady brew.

PHOTO CREDIT: Peter Capstick

It is good discovering a band who works outside of London – the guys are from Aylesbury, Buckinghamshire – and I am glad they are getting gigs there. A part of me knows, in time, they will settle in London and take full advantage of the scene here. The fact they are so close-by means there are so many options in front of them. They do not have to struggle with the stress of the city but have it near them when they require gigs. Buckinghamshire is a county that gets overlooked – many assume it will be very quiet and dull. There are some great artists working in the county and it shows you should not judge somewhere until you visit there. The Green Man and The White Swan are a couple of smaller venues/pubs where local bands can cut their teeth; Coopers and The Aristocrats are reputable spots that are proving popular with musicians. Aylesbury is one of the more thriving parts of Buckinghamshire but there are great towns/villages where musicians can get gigs. Blushes know this but, as they grow larger; one feels they might relocate to the city. They have had some great opportunities and accolades presented to them in the past year. Since their formation in 2016, actually, they have been invited by producers of both London Live and BBC Radio 1 to feature on their platforms. Their debut E.P., Private Viewing, went down a storm and they have had tracks – To the Bone and Voices – featured on the radio station, Mix 96. With producer Ian Flynn; they have co-opted a nuance, yet organic, sound that emphasises the percussive boom and introduces a range of other instruments. I know they will continue to develop and progress but, so far, the band have achieved a lot. There are few who have a sound quite like theirs – something many radio stations and platforms are fully aware of!

PHOTO CREDIT: Ellie Merridale

2018 is here and, unlike last year, we need to start promoting a new type of artist. Last year provided some treats and great new acts but I feel we should take a different route this year. Bands, as I said, need more focus as there are some really good ones out there – differing from what has come before. The mainstream needs to recognise those artists that do things differently and are willing to add something fresh to the scene. We are seeing too many overly-familiar artists who too eager to get streaming figures high and appeal to a certain demographic. That is fine, to a degree, but it is creating a rather stodgy and dull scene. Blushes mix in cheekiness and Pop melody with strange instruments and some tough-strut. They are unafraid to venture into foreign territory and, because of that, are being earmarked as a band to watch. I know there are fellow groups who expend the same invention and, alongside Blushes, they warrant more acclaim and boost. This year is going to be marked by the solo artist once more. All the polls and rundowns are putting the focus on sole acts: what happens to all the bands who are keen to make a success of things? They might have to work harder but, I think, those who take the effort to stand out will find reward. I am not sure what Blushes have planned but I know they will continue to gig and get new material out there. It is a great time for them and who knows how far they can go. They continue to evolve and change; their music does not stay still and there is that insatiable and tangible energy and passion present. If this year is going to inspire listeners and suggest real change and growth; we should put more emphasis on those artists who have the ability to remain and inspire – even if it does differ from that is favoured in the mainstream.

Some crackle and eerie sparkle give Honey a slightly unnerving and disconcerted beginning. I was not expecting such a sound to come out from the introduction. It puts the listener in a certain mindset and you are looking at something quite dark and shadowy. An announcement comes out – “Good evening, ladies and gentlemen/ (and) Welcome to Saturday night” – and it is the band’s version of Top of the Pops. The male announcer tees the band up and it leads to a pleasingly Oasis-like drum thud. I mentioned the Manchester legends before: Honey’s first beats put me in mind of Oasis’ track, Live Forever. It is that mule-kick start that gets the blood running and, before you get settled in; that changes to something more swaying and seductive. Keys and fuzzing guitars give the song a mix of 1980s Pop and Electronic experimentation. It is a swooning and swaggering brew that subverts expectation and brings another layer into the song. The lyrics paint pictures of popcorn on the hob; the romance/domestic lifestyle that needs a bit of sugar sprinkled in. Whether referring to a new love or the weary state of a current relationship – there is a note of caution and unhappiness in the hero’s vocal. Backed by that wooziness and original bent; he lets his voice flow and investigate. Honey is a song that differs from Blushes’ previous material but has that relatable and familiar core – a band that are always on the same page and throw their all into the music. “You’re that honey/on my lips” the frontman explains – an addict who seems happy with his drug of choice – and is a lounging lizard ready to snap up and seduced the girl. In the song’s video; the band are cast in their own spoof/show – each member gets their own identity (Tiffany Marie is ‘Stacey’) and a Blushes-themed show unfolds.

PHOTO CREDIT: Ellie Merridale

There are newscasts and bulletins; a range of scenes that give the song a more dramatic and visually-arresting angle. The chorus is an energised and breathy thing that melts male-female vocals into something soothing yet intense. One of the problems I have noticed with my recent reviews is a degree of indecipherability. The words come out but it is quite hard understanding them. They get buried a little by the composition and are a little too breathy – more about the sound rather than clarity. That is okay – the verses are really clear – but it is a struggle picking out all the words. What strikes me most is the sound: a melange of sweetness and low-down; a conspiracy of honey and silk. It is a pleasing coda that emanates various emotions and gets into the head. Comestibles and foodstuffs are used as metaphors and similes. The hero can make the relationship last so long as the milk does not sour; the honey-scented girl is his ideal but he knows there is a risk things can go bad – the need to please her and not rock the boat is evident. The composition never gets too hot and intrusive: the vocal is allowed to shine and, instead, the instruments push the song forward and add interesting little colours here and there. One gets impressions of 1960s Pop with the lyrical sentiment. There is an innocence and child-like nature that is reflected in the video. The huskier female vocals have croak and sensational passion; the male vocal is more relaxed and lighter – the combination gives the song huge vibrancy and allure. The hero does not know what to do or think anymore – the heroine expresses the same sentiments. Voices build and the entangled emotions give the song a sense of confusion and urgency. The chorus, as the song nears its end, becomes clearer and you piece more of the story together.

PHOTO CREDIT: Ellie Merridale

What one notices by the end of the song is how quickly they want to repeat things. You listen again and are hooked by all the vocal and instrumental elements. It is an addictive song that, given its themes and ideals, should not come as a surprise! The band has created a song that will prove very popular and do fantastic business in the live setting. It is an intoxicating and wonderful song that has an insane degree of catchiness and seductiveness. You keep coming back to and are keen to explore every nook and avenue. Few bands have crafted anything as sublime this year – even though we are only a few days in – but that benchmark will be hard to top. Rather than go for something easy and commercial; the guys have crafted a song that means a lot to them. There are elements of the 1990s’ best; the joys and Pop of the 1960s – modern Alternative tones that keep things current. Even though the song is around four-minutes-long; you wish it would last a bit longer – so one can experience that chorus one more time, perhaps! Let’s hope there is more material from Blushes and, on the evidence of Honey, they are on a hot streak right now. The Buckinghamshire band ensure this year has begun with a dollop of warm, sweet and nourishing goodness.

PHOTO CREDIT: Ellie Merridale

The Blushes guys will still be adjusting to the introduction of the New Year. Honey is a great way to kick off their 2018 and I am excited seeing where they go from here. Whether there is an E.P. or album arriving, I am not sure. They have momentum and fans behind them; radio stations are aware of them and it seems like more and more eyes are trained the way of Blushes. I am pumped and cannot wait to see them explore and conquer. They will get local gigs but, owing to their new stature; I wonder whether they will explore the spectrum and bounty of London? The city has so many great venues so, as spring emerges; they will take the time to get their music out to the capital-folk. I have mentioned bands like False Advertising: a Manchester act that is performing at some of their city’s biggest spots. I wonder whether Blushes will consider Manchester as it is a rich market ripe for tapping. These are all speculations and suggestions: how they progress and move in 2018 is up to them. It is the spirit and mutual respect that gets me; the way the band melts and fuse with one another – an intoxicating ballet that has led to some sensational music. I would like to see Blushes wipe the crimson from their cheeks and widen their scope. I know money is an issue and they will not want to race up and down the U.K. just yet. Their music is hitting the hearts of many so, in that spirit, there will be many people out there who have yet to see the band perform live. Let’s hope the band spend some time visiting other cities and counties through the year. It has been an exciting and successful past couple of years for the group – 2018 is the year, I feel, they will make the biggest strides. Honey is where they are now and, if it is an indication of where they are heading; I feel they will get some very good festival invites. That is another region they could explore: the fabulous festivals, small and large, that seems perfect for them. If you have not got involved with Buckinghamshire’s Blushes rectify this and discover a band who will soon become part of…

PHOTO CREDIT: Ellie Merridale

YOUR regular rotation.

_______

Follow Blushes

PHOTO CREDIT: Ellie Merridale

Official:

https://www.blushesbanduk.com/

Facebook:

https://www.facebook.com/blushesband/

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https://www.instagram.com/dontmakemeblushes/

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https://twitter.com/blushesband

SoundCloud:

https://soundcloud.com/dontmakemeblushes

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https://www.youtube.com/channel/UC03rJ06VmYTkf1jtr8LVnpw

Spotify:

https://open.spotify.com/artist/2AqDF6Q74Ri1WBf7t5ZPXt

FEATURE: The ’94 Vintage: How a Single Year of Music Helped Change the World

FEATURE:

 

The ’94 Vintage

ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images

How a Single Year of Music Helped Change the World

__________

IN a piece tomorrow...

I will look at the time when MTV ruled the box - and music-television was hugely popular. I do not want to revisit the past too fondly but, instead, ask why we do not have anything as iconic as that in the modern time. You can argue the 1970s was a finer decade than the 1990s (you’d be wrong!); you can debate 1967 produced more iconic songs/albums (see the previous parenthesis...); you can say 1994 was an overrated year (seriously?!) – I admire anyone who is willing to launch into a purely hypothetical argument. I say that because, without bias, 1994 has provided the world of music some of the greatest, most influential records ever. I looked at 1994 last year but, the more music cries for something unifying and legendary – the more my mind goes back to the year. It is not only the music that inspires me: the year saw popular culture boom and enter the stratosphere. Although John Major was in government; there was hope the nation would regain credibility and enter a new phase – Labour came in by 1997 and there was optimism things would improve! Around the Tory wallow was an entertainment industry whose best T.V. shows and films are still being talked about today...

You can make links between album themes and film styles – how diverse the year 1994 was – but the neo-noir captivation of Pulp Fiction was the Grunge-cum-Rock film (with Psychedelia, Disco and Rock ‘n’ Roll tossed in!); The Lion King and Forrest Gump charming Indie/Pop; The Shawshank Redemption a more complex work; Clerks, Four Weddings and a Funeral the comedic, lighter offerings – Heavenly Creatures the immersive and dramatic L.P. Maybe these links are spurious and unconnected - but the vibrancy and diversity of the films (the best of) are obvious. So much quality and originality: a mixture of intense screenplays and humorous concepts. Mix in U.S. comedies hitting their peak – The Simpsons, Seinfeld and Friends among them – and you can practically smell the brilliance of 1994. We have not seen a year like it in terms of entertainment and innovation – shows and films that continue to compel nearly twenty-four years after their release. ER, The X-Files and Beverley Hills, 90210 were filling the screens and, looking back, it seemed like a less troublesome and fraught world. Maybe I am misremembering but the joy projected from the T.V. screens – and film screens – was only surpassed by the music that year.

I mention these T.V. shows and films first to give an idea of what was happening in popular culture. The best music from 1994 took from what was happening in other areas of the entertainment but, if you think about it; maybe the two are unconnected. There was inspiration in the air, for sure, but such is the magnitude of 1994’s music – I am still baffled how it managed to create such an impact. 1993 and 1995 were strong: 1994 was a biblical year that seemed to drop out of nowhere. Maybe the hangover of the late-1980s was over and, inspired by the drive and quality coming from other parts of the world – musicians were on a high and willing to change the world. There is a split between the songs and albums from that year. I will collate it all in a playlist (at the end) but, if you look at the finest songs from 1994 – you get some genius from so many different genres. Chart-riding hits like !I Swear (All-4-One) and The Sign (Ace of Base) might seem cheesy today but, back then, they were massive songs that got into the collective soul Warren G’s Regulate and Black Hole Sun (Soundgarden) showed the contrasts offered up that year: Beck’s Loser and Green Day’s Basket Case provided the best Punk/slacker polemics in American music. Kylie Minogue’s Confide in Me and Boyz II Men’s I’ll Make Love to You, sultry and alluring hits that stole focus.

IN THIS PHOTO: Kylie Minogue 

I will mention standout tracks from the best albums (of 1994) but I loved those phenomenal songs that sound fresh and desirable today. Who can resist the singalong, beguiling qualities of 7 Seconds (by Youssou N’Dour and Neneh Cherry) and the good-at-the-time-but-a-little-dodgy-now charms of The Cranberries’ Zombie?! Away from the Pop mainstream and radio-friendly hits was the incredible Dance/Club sounds that have not been bettered since then. We had the barbed wire of The Prodigy (who I shall talk about soon...) and the more accessible sounds of Reel 2 Reel and Ultra Nate. Although years earlier in the decade produced the biggest anthems from the scene; inclusions from Björk (Big Time Sensuality) and Real McCoy (Another Night) added a certain spice and colour – Livin Joy’s Dreamer a huge song that made November a pretty warm and memorable month! Toni Braxton, Corona and Baby D produced some standout singles; Aswad, Dawn Penn and Sheryl Crow lit up the radio; Salt-N-Peppa (with En Vogue), Take That and Madonna laid down their mark. The best one-hundred songs from 1994 – album inclusions and singles – can rival any year you throw at me! Whilst there was a split between the cool, edgier songs and the user-friendly cuts: look at the arsenal of genius albums and there is even more depth, diversity and wonder.

The albums that arrived in 1994, I feel, are stronger than those of 1967 and 1991. It is a close call but, look at the 1994 inclusions, and you can hardly argue. Sheryl Crow’s Tuesday Night Music Club and Hole’s Live Through This showed how two very different American female (stunning) songwriters (Courtney Love of Hole) could impress and stun in unique ways. The Americans, perhaps, had us pipped when it came to the number of ground-breaking albums that year. Nirvana’s MTV Unplugged in New York was one of their last recordings – Kurt Cobain’s suicide (in the same year) not only affected the Grunge community but inspired a wave of new, compelled bands/artists. Beastie Boys showed they had plenty of magic left in the tank – after the sublime Paul’s Boutique ended the 1980s – with Ill Communication; Weezer’s eponymous album (the first one, at least!) dazzled critics; Green Day’s Dookie remains the Punk band’s finest album to date. We have not really seen an inventive Hip-Hop album like Beastie Boys' Ill Communication in a long while – with samples and so much invention – or something as catchy, intense and hard-biting as Dookie. It is all very well listing albums aimlessly but, look at why they were so popular makes me wonder why we have not tried to replicate them. Pavement’s Crooked Rain, Crooked Rain showed how prolific the band were but, a few years later, it would inspire a flagging British band and provide a new lease of life – I will mention them when I look at the Britpop best.

IN THIS PHOTO: Tori Amos

There was no shortage of quality Rock and anthemic pummel in 1994. Pearl Jam’s Vitalogy did not have the same level of quality as Ten (1991) but, no less, was a wondrous album that got into the public's hearts. Soundgarden’s Superunknown was a biblical statement from a band that was among the forerunners of the Grunge movement. Now, with Chris Cornell (their lead) gone; I hope new bands listen to that album and realise why we sorely need a new version of Superunknown. Alice in Chains brought us Jar of Flies whilst, at the other end of the spectrum, there was something more emotive and tangible from Madonna (Bedtime Stories) and Tori Amos (Under the Pink). R.E.M.’s Monster was an album befitting of its title whilst Beck’s Mellow Gold proved the Odelay creator was starting to hit his stride (Odelay would arrive in 1996). Perhaps the greatest, and most overlooked, American album of 1994 was Jeff Buckley’s Grace. Its year of arrival was slightly unfortunate: mingling with muscular, cool-kids-records that were inspiring Alternative, Grunge and Rock fans. There was some muscle on Grace but, for the most part, it was a romantic and tender thing that appealed more to the lovers and thinkers – at a time when nothing like it really existed. Buckley’s sole studio album would gain the respect it deserved years down the line - but it was implanted into music at a time when the market was looking for something else. Regardless; it showed the diversity of 1994 and how insanely-good music was!

I have mentioned the brilliance of American music that year but, perhaps, I was too rash with my conclusions. 1994 was a year that saw the best of the U.K. align and rouse the people. The acerbic and cerebral Pulp gave the musical world His ‘N’ Hers. The Sheffield band would create finer records – 1995’s Different Class is considered their masterpiece – but any album that contains Babies and Do You Remember the First Time? cannot be ignored! It was a hot time for British bands who dug deeper than the commercial chart acts. We do not really have the same working-class warriors assessing real-life and what is happening in this country. Look back at the glory of 1994 (and how the likes of Pulp and Oasis ruled 1995) and we have a case study of how music should be. Supergrass – who would come into their own on their 1995 debut, I Should Coco – provided a tantalising insight into their world with the classic, Caught by the Fuzz. I will end the piece by looking at why the British Electronica/Dance/Techno is another reason why we need to look at the past – and why the best from the genres surpassed anything the rest of the world was pumping out...

The Britpop movement was in full-swing by 1994 and, although it would peak in 1995; there were outsiders like Suede, Pulp and Radiohead – with core/leaders Blur and Oasis fronting the movement. British music was changing and, whilst there were big hopes regarding The Stone Roses’ sophomore album (Second Coming did not match their debut, ironically); it was all about the new breed and what they were offering. Suede and Pulp produced the more refined, intellectual and dramatic music – flourishes and mini-dramas of modern life and romance. They had their core but were not commercial enough to truly break into the spotlight. Pulp would gain more ground in 1995 – as would Radiohead – but 1994 was all about the battle between Oasis and Blur. For the latter band; Parklife was their third, and finest, album. They got a smattering of applause with Leisure (the 1991 debut); Modern Life Is Rubbish was one of 1993’s best releases: Parklife was them at full-chat; an album that boasted songs like Girls & Boys, Parklife and This Is a Low. Manchester’s Oasis were the working-class alternative to the more middle-class and academic Blur. Unlike the Essex band; Oasis produced their first album in 1994. They did not need a warm-up and gradual ascent to glory: Definitely Maybe was a spectacular debut that many argue is the best record of 1994. It was unexpected and just what the music world needed!

Many felt disenfranchised and dislocated; politicians were not speaking for them and the country they lived in was changing – Oasis came along and provided guidance, anthems and plenty of great times! They were not your average pub-bound band talking about booze and girls with no intelligence and wit. Sure, they covered excess and the Rock lifestyle on a few numbers (Cigarettes & Alcohol and Rock ‘n’ Roll Star among them) but those chunky-riffed songs paled compared to the standout track: the country-uniting Live Forever. If that were waged into the 1995 chart battle between Oasis and Blur then the final result would have been different – both bands put up songs that were not up to their usual high. The cobwebs had been forming since The Stones Roses’ late-1980s debut and nothing had come along to suggest rebellion and revolt. The insouciance and clutter-freeing charge of Definitely Maybe was a swagger and scattershot – mixing Punk, Rock and Glam seamlessly – record that quenched the thirst and created a massive hunger in its wake. Oasis would start a creative decline by 1997 - but Definitely Maybe was the start of a two-year reign that meant they were the most important and celebrated band on the planet. 1995 would see Blur and Oasis compare new tattoos (Blur’s The Great Escape found them blocked in a tunnel and unable to reach the surface; Oasis’ (What’s the Story) Morning Glory? elevated their profile and meant they were untouchable).

IN THIS PHOTO: Oasis/PHOTO CREDIT: Kevin Cummings

By 1997, fortunes shifted. Blur looked to U.S. bands like Pavement and rejuvenated their ranks with their eponymous L.P.; Oasis, instead, looked more into themselves and swapped influential substances: cocaine replaced alcohol. The overblown Be Here Now gave power back to Blur: 1994 was a year when the scrappy and unfiltered northerners owned music and provided us all hope! Whilst Rock and Pop was doing sterling business in the U.K.; the fantastic movement of Dance and Electronic was gaining credibility and crowds in the underground; Bristol innovators Portishead produced Dummy: songs such as Glory Box, Sour Times and Numb became staples and club gems. Away from great British icons like Morrissey (Vauxhall & I was his best solo work to that point) and Manic Street Preachers (The Holy Bible, a remarkable work); we had the daring and high-fuelled pioneers doing something truly fantastic! British Dance and Club music would stagnate later in the decade – Basement Jaxx’s debut provided the colour and cross-pollination it was crying out for… - but, in 1994, we saw another band begin a remarkable one-two. The Prodigy's debut, Experience, was a brilliant record with stone-cold classics like Jericho and Out of Space featured. If Liam and Noel Gallagher drove Oasis’ music to the forefront; Damon Albarn the catalyst for Blur’s glory; Jarvis Cocker the wit and lead that helped mould Pulp into icons – the production and songwriting skills of Liam Howlett brought The Prodigy to the masses...

Music for the Jilted Generation took the brilliance of the debut and notched it up to another level. There were few samples but, rather than rely on other people’s work; Howlett created a dizzying cocktail of sounds that meant cheap music did not need to be poor – it was invaluable, dark and shape-shifting. Voodoo People and No Good (Start the Dance) became two of the biggest bangers of 1994 – both very different songs but each irresistible and defiant. Break & Enter and One Love are instantly recognisable, whilst some of the more minor tracks – Full Throttle and the three-song suite that ends the record among them – still had their place. It is a kaleidoscopic cocktail of ecstasy, marijuana and cocaine; beer, wine and tranquillisers – all mixed in the musical stomach and, somehow, coherent. There is no loss of stomach lining, memory of blood when those contrasting substances unite: it is an effusive and rainbow-bright epiphany that showcased a band like no other! 1997’s The Fat of the Land did not quite match the peaks of Music for the Jilted Generation – even if Breathe and Firestarter become two of the best-known songs from The Prodigy. The fact the band needed three years between releases proved how much work went into the seamlessly 'easy' and ramshackle recordings! 1994 was a phenomenal year - and one that has yet to be surpassed. I am hopeful modern music will make strides to match the brilliance (of 1994) but, twenty-four years down the tracks…

PHOTO CREDIT: Unsplash

MUSIC has not managed to reach such mesmeric heights!  

FEATURE: Tomorrow Never Knows: Vinyl, Plastic, Electronic: The Changing Face of Music Technology

FEATURE:

 

Tomorrow Never Knows

IMAGE CREDIT: Pixabay

Vinyl, Plastic, Electronic: The Changing Face of Music Technology

__________

THINGS might get a little nostalgic today…

ALL PHOTO (unless credited otherwise): Unsplash

as I delve into the history of music/technology - and how incredibly far we have come. Rather than quote from other articles and provide streaming figures: I want to show how formats and hardware have changed over the years. I was born in 1983 and, when I was younger, remembered the joys of picking up a cassette and putting it into the newly-acquired player. This is not the most scientific and business-minded feature you’ll find - but I wanted to look at the way music has shifted through my life – and whether the revolution has been all positive. The tape cassette was invented in 1962: it was a great time for British music: The Beatles were coming through and there was huge excitement in the air. Of course; fans were listening to vinyl and queuing to buy their music (of The Beatles). The invention of cassette did not instantly lead to an advent and transplant. Vinyl was still very much the chosen format of the masses and, from my parents’ record collection; they did not move to the cassette until the 1980s. I was born towards the middle of the decade but, even when I was old enough to produce memories and visions – around 1986/1987 – I remember the house was chocked with vinyl and sleeves. There were cassettes here and there but the honest record was what I heard when I was young.

I am not sure when vinyl came in but I know the first small record was printed in 1888. It was not until 1951 when Ewing Nunn founded Audiophie Records and released a series of 78 R.P.M.-mastered albums that were microgrooved - then, that was when the explosion began. In a weird way; I find vinyl to more capacious and versatile than the cassette. I am glad both are still in existence and, if anything, we are seeing a wave of artists produce their music on cassette. Vinyl has not radically altered the past few decades or so. It has got more expensive but the fact it was pretty damn-near-perfect back in the 1950s means there is no need to reinvent the wheel. Cassette, too, has not had the chance to shift and improve. One of the things that always grated me concerning cassettes tapes was their fragility. One could stick them into a player and, within seconds, hear a winding sound – to remove it and find it was unspooling and ruined. You could try winding the tape back in but, unless you got really lucky; the thing was beyond repair and gone – no real explanation why that particular album/single unwound itself to start with. Vinyl has its negative aspects but one needs to play it pretty vigorously until it scratches and becomes unplayable – the odd scratch and crackle actually add character to a record!

One of the reasons I feel the development of technology/hardware is a good thing is because we can listen to music in a more joined-up, accessible way. Vinyl is great but it is unwieldy and expensive; the record needs to be flipped and, if you are listening to a double/triple-record; you might need to unsheathe a couple of vinyl and stop-start a fair bit. Tape is laughably basic and flawed...If you want to access a particular track then you literally have to put your finger on the fast-forward/rewind button and keep checking – like someone at a petrol pump; you need accuracy and patience to get to the right point. I guess, like reel-to-reel film; it is impossible to add diverts and compartments so one can easily get to that point. It has been a few years since I last picked up a cassette tape so things might have improved; although, judging from the submissions I have sent; I know the technology is not advancing that format one iota! For all the ‘quirks’ and drawbacks; the sensation one got from picking up a tape/vinyl could not be matched. I am not going on some highway nostalgia trip but I miss the physicality of music. When I was younger, and my grandfather built a go-kart in his garage; one of the first accessories for it – it has a bar at the back where someone could stand as the driver peddled it – was a red boom-box/duel-player.

PHOTO CREDIT: Getty Images

There was a double tape compartment where you could put cassettes (slot ‘A’ and ‘B’) and so, within seconds, you could get an album underway and enjoy it at full volume! Not only was there the social side of cassette tapes – when you would swap them in the playground – but, I feel, music feels and sounds different depending on the format. Vinyl has that special quality where you need to be still and experience the music. They have not invented a portable vinyl player (even for seven-inch single) where you can drop the needle and listen to it on the move. Strangely, if one looks at the logistical flaws of music formats; there seemed to be revere-evolution as new technology came in. My earliest experience was with vinyl and cassette but there was new excitement and lust regarding the C.D. It was invented in 1982 but was not really common in my (and my friends’) house until the late-1980s. The 1990s saw a fantastic boom of world-class musicians so it deserved and demanded a full arsenal of technology. Vinyl was still much demanded and the cassette tape was holding strong: a third tentacle of C.D.s meant artists had plenty of options regarding release and distribution. If anything, music has gone back in that sense: C.D.s are the most-common format for new releases; artists release to vinyl but it is less popular than decades like the 1990s (and cassette tapes are pretty rare).

PHOTO CREDIT: Getty Images

I mentioned how physical formats had transposed evolution and fortune as we headed into the 1990s. The Walkman meant one could listen to tapes on the go; the (C.D.) Discman meant you could load a disc into your pocket and discreetly listen to music in the open. Of course, players and recorders simulated that but the mobility issues were clear. That said; one of the most memorable aspects of my musical childhood was one of the most comical: the way, if one moved when they walked, a C.D. would skip. Anti-skip technology did not come in until the 1990 and, for avid music fans like me; it was a relief and revelation. The fact you could listen to cassettes and C.D.s without their skipping, juddering and stopping was a breath of fresh air. It was ‘interesting’ negotiating the technologies of the 1980s but it all added to the fun and memories. I feel, if digital music was around in the 1980s, most of us would not pursue music and have such evocative recollections. It was the way I bonded with the Walkman and cassette; the pleasures of Discman ownership and the hours wiling my time away spinning vinyl that got music into the brain – and meant I would follow its allure and tease to this day! C.D. was the big leap forward that meant we did not have to wrestle with tapes and risk damaging them with ease.

One of the biggest bugbears in all of music is the fact the C.D. has not leapt and improved since the day it came out. A blank C.D. holds eighty minutes of music which, for the most part, is fine. If you have a double-album then you might have to exceed that length but I wonder why C.D.s do not hold more data. Nobody ever records on both sides of a C.D. and the limited capacity meant a lot of people recorded on a second disc. I do not know why there is that eight-minute-limit - but it is quite galling! There were some tried-and-tested-and-failed formats like MiniDisc that had the same time limits but were not as revolutionary and popular as C.D.s/cassettes. The MP3 player was not introduced until 1998 but, like the C.D.; it did not sustain as long as you’d hope (trivia fact: Suzanne Vega’s song, Tom’s Diner, was the first song put into an MP3 format; Karlheinz Brandenburg was experimenting and wanted to see what was possible). C.D.s, to be fair, shared the same sort of vulnerabilities as a cassette tape. I have owned many and accidentally dropped them on the floor. Many survive but I have lost many without any provocation and real attack – they are brittle and can be derailed with a mere smudge or accidental scratch. The infantile frailness of these formats did not matter: the physicality and resonance compensated and it helped bring the most popular sounds of the day to the world.

That unity between handheld devices and physical formats meant music was able to reach more people than ever before – further and wider than vinyl ever could. The biggest step forward was the in the '00s when digital media took over. MySpace (remember that?!) was introduced in 2003; YouTube in 2005 – Spotify the following year. It was quite a quick and competition-led revolt that meant each owner/company wanted to get ahead of the other. If MySpace has fallen at the hurdle and had its leg broken – the ongoing competition between YouTube and Spotify exists in 2018. Spotify offers subscription and has a wide catalogue than YouTube: the visual aspect of YouTube means it is the best place to put videos on. One day, someone will supersede and subsume the mandates of both and integrate them into an all-powerful Godzilla that renders – Spotify and YouTube – obsolete. The first couple of years was all about testing and getting things solidified. I was twenty-one when YouTube was kicked to the world and, having graduated the year before; it was another fascinating development. Like MTV – I will discuss that in a piece tomorrow - we could see all the latest videos on the screen. Unlike the rather right-place-right-time nature of a T.V. channel; the fact we could pick up a laptop and watch a video on the move was the same sort of eye-opener as a Discman – albeit without the cumbersome stop-start issues and the lack of reliability. I cannot claim the digital takeover has been all bad: new musicians do not need a record deal to get their sounds heard and played on the radio.

The best part of the move from physical to digital has been the horizons opening and the market removing barriers. I will not get into a theological, liturgical discussion relating to the worthiness of the physical format – I have written about vinyl and how things were better, then. I am pleased we still have formats like C.D. and vinyl and I dearly believe either will see their final day. We can never replace C.D. and vinyl with streaming. Someone, somewhere wants to hold on to physical possession and there is a danger music is becoming too impersonal and machine-fed. So many new artists are, without irony, reverting to cassette tapes and C.D.s to release their music. They do not want to spend their lives marketing online and being detached from the production and design of the older formats – where an artist could get involved with the entire process and see that finished result come to life! Whilst it is fun to remember and cast back to a safer time: the only way music could ever evolve and come this far is because of the Internet-led charge. I would not be as passionate about music were there no streaming and music-sharing sites. The reason I am writing a few pieces about ‘older’ music is (because) it is important to see where we have come from and how the industry has changed. Technological advancements are taking place but we have reached the limits of what portable devices can achieve.

We can fit thousands of songs into a phone and do so without interference and problem. Things are as smooth and seamless as they have ever been. Sites like Spotify means we can listen to pretty much any song from any year at the touch of a button – can we go further and make another leap?! I feel we have hit the natural wall of what is physical and technologically possible. The greatest development is the access musicians have to get their music out to the world. Social media and streaming mean anyone in the world can discover a small, independent artist and share their music. We cannot live in the past but I think, with music growing by the year; we need to find new ways to accommodate the population and take that next step. I wonder whether a return to the past is, ironically, a way forward? Physical formats have been overtaken because digital music offers more options in terms of accessibility, capacity and affordability. I know we can stream songs for free and create libraries with thousands of songs but, if we do not want to become too electronic and inhuman – maybe finding ways of strengthening older formats would be a good idea. I long to get hold of physical formats with artwork and a unique edge. Maybe it would be too weird returning to past decades but there might be a modern way to make that happen. It is clear the cosmic blast from the dying days of cassette and the full realisation of Spotify has been immense.

I have been experiencing technological changes in music my whole life - and it is amazing to think that, in the past few decades, we have come so far. It would have been baffling, as a young boy holding vinyl and cassette tapes, to think my faithful tape-machine and Walkman would be replaced by something like a streaming site. The Internet did not come about until the 1990s and, when it was brought into every house; the dial-up modem – and its laughable dial-tone and slow speeds – did not seem like it could create progeny such as YouTube! People are always looking to push things as far as possible and see what that next breakthrough is. I am glad streaming and digital music are here and I know there will be that balance of physical and streamed. Let’s not hope the music industry chooses to retire C.D. and vinyl because, as I have shown, those memories and tangible times have made a huge impact in my life. The same can be said of so many others out there, too. Looking back can be dangerous but, in terms of the advancement of music – in terms of the formats that hold it and the way it is recorded – it has been an amazing time. I am thankful to the innovators and musical magicians that brought music to my young, impressionable ears: I am constantly thankful the modern-day innovators have made new and existing music readily available to me and…

THE entire world.  

FEATURE: Capital Punishment: Why, Despite Its Downsides, London is One of the Best Places for New Musicians

FEATURE:

 

Capital Punishment

ALL PHOTOS: Unsplash

Why, Despite Its Downsides, London is One of the Best Places for New Musicians

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MY mind is split between the desire to…

live and work in London and, on the other hand, look at music away from the city. I have already reviewed and interviewed a few London artists this year and, as the weeks progress; I will look at other capital-based musicians for inspiration. I have become somewhat inflamed because so many people I know are finding work in London – it is somewhere, and Manchester, I want to live/work. It is always hard finding appropriate work in such a competitive market and getting up there as quickly as hoped – there are some who have figured it out. I will continue to plug but, in terms of musicians; there is a split between those flocking to London and those who are moving to quieter areas. There is this idealised version of London as the home of opportunity and money: where one goes to obtain fortune and success. That is true if you are in a certain industry: for musicians, in such a competitive and low-paid role, that is not always the case. Although rent prices are starting to fall and it is become, gradually, more accessible – I feel an overhaul and review needs to happen so people can afford to live in London. Compared to where I work; the cost of renting in London is actually affordable and reasonable. There is plenty of choice and, depending on where you want to work/gig, you can get somewhere near a Tube line. There are, among the positives, some downsides that are still putting many off.

I was chatting with a photographer I know and she says the reason she lives away from London (Bath) is (because of) the pace of life. I can understand the zeal and determination associated with a music career; getting to the capital and settling in a vibrant hub. With that common mindset is an inevitable outcome: a masses of bodies and little room for movement! Others, when talking about the drawbacks of London, revert to that ‘people-point’: the folk are not as friendly and accepting as elsewhere. Again, compared to where I am; I have not really noticed much of a difference – maybe that is all the more reason to go there. I grant, for the non-musician; there is something daunting and cold about London. A lot of people want to be calm and mingle in an area where you can converse and feel safe. It does not matter which large city you go to – New York, Tokyo or Paris – there is always going to be a certain element of rudeness and cram. That is not necessarily the fault of the individual(s): putting that many people into a small-ish space, all needing to get where they are going, and you are going to struggle for conversation and breath. Musicians, largely, are not as bothered by that: one of the reasons they settle in places liked London is the energy and people.

What worries me, especially with the ascent and dominance of social media, is the fact there is a social split. People are either not going out (and communicating) or, owing to the mass of bodies, finding it hard to connect with anyone. Musicians are among the fastest-growing sector of the professional population. From all around the world; musical peeps are coming to lay roots here. Too many I know are finding the pressure of city-life stressful; there is a lack of available social outlet; they are tiring and seeing a negative impact on their mental-health. Again, maybe this is a sign of the over-populated city: I feel there are solutions are remedies that would make a London lifestyle more appealing. I was reading an article - published in Noisey a few years back - that highlighted the financial squeeze musicians are feeling:

“The decimation of London’s art squats is a metaphor for the city’s recalibrated attitude towards art, and 2015 London has all the spluttering symptoms of a city hurtling towards cultural void. Investors pick up housing estates as if they’re glass ketchup bottles, turning them upside down and smacking the bottom until all the inhabitants fall out. Wages have stagnated, living costs have soared, rents have rocketed, venues are being methodically demolished, 150,000 of us are working two jobs, and everyone with a creative one is considering a move to Woodford.

 Over in the fallows of central London, bankers body pump to “Everybody’s Free” at morning raves, each new bead of sweat more resinous than the previous, as last night’s cocaine residue is taxied out of their bloodstream. The same month London Mayor Boris Johnson launches his #BackBusking campaign, his police force are heavy handedly arresting musicians in broad daylight for doing just that in Leicester Square”.

The author makes interesting points and, perhaps, that is still the biggest drawback: the rent prices are still too high and oppressive. If you look at flat-sharing websites (like Spareroom) and you can get a good impression of rental prices. If you want a double room – most of do, let’s be fair – with enough room to swing a cat; flatmates who are easy to get on with; amenities nearby and a generally good living standard – it does vary depending on where you look! Even if you are looking out towards the more ‘lavish’ parts of the capital: you might be able to pick up a flat for £700 P.C.M. That might sound excessive but that price is for a very good place – it does vary, obviously, regarding location and landlord/landlady.

I am looking for places and most of the good-looking, decent-sized flats are around £650. That is steep compared with other parts of the U.K. but is manageable for most. The biggest issue comes when you throw in travel and living. It is ‘doable’ if you economise and skimp but that leads to a deterioration and mental-health issues. If you want to maintain a steady social life; eat properly and travel – you might have to (nearly) double that rent price. Most of us barely earn that much a month (£1,300-is) and, if you want to save up and travel; it is not going to be possible. Everyone has a different budget/salary – so there will be variables – but it is going to be tight for everyone. Flat-sharing, for a musician, can be a good way to make friends and take away (some of) the pressure of The Big City. Even if you pitch in with three or four others; it still gets a bit costly when you tot-up all the other ins-and-outs of a month.  I will end the ‘negative’ end of the piece addressing music venues and perception; but I wonder: is the gentrification of the music industry itself forcing honest musicians out of the market?! Returning (briefly) to that article and a very good point was raised:

“The growing impossibility of starting from the bottom and actually making it in today’s music industry is mirrored by the ugly portrait of successful British music. As Gavin Haynes wrote for Noisey in January: “We are living in an age where a certain kind of lozenge-folk have come to dominate. It’s no longer just the children of lawyers and architects. It’s the kids of the balls-out elite. Sam Smith’s £500k-a-year banker mother. The Mumfords—Winston Marshall’s dad being the chairman of one of the country’s largest hedge-funds.”

 The pursuit of funding for artists trapped at this level is the much publicized but largely artificial carrot dangled up front. The British government made a song and dance out of their £2.5 million slush fund for musicians last summer. In Kafkaesque fashion, bands were encouraged to fill out endless reams of forms, usually to discover that they were eliminated in round 3,843, and the money would be going to The Wombats”.

Those points were made in 2015 but, looking at this year; can we say things have changed that much?! Artists like Florence & The Machine and Ed Sheeran are still popular and performing – two artists accused of being out-of-touch and lacking working-class ideals – whereas previous ‘accused’ like Mumford & Sons have, I think, bitten the dust. There is still that centrality of middle-class, intangible musicians – those who have more-privileged backgrounds compared to most; they do not possess the struggle and pains most of us take for granted. I have been wondering whether music’s core has become less middle-class and more ‘real – looking out at the mainstream and the answer seems to be (a resounding) ‘no’! There have, sure, been changes and improvements but the constitution of the mainstream favours the better-of and elite. The (more) better-off artists you have coming to London, the higher rent prices get. It also means a certain sound/artist is favoured – and those hard-working, original artists take longer to find acceptance.

London is a dream but it is a city that does not patiently foster and support a struggling artist. Even if rent rises are levelling and stabilising; I wonder whether the predictably middle-class mainstream and gentrification of the city means anyone outside that circle is being ostracised and isolated. It is almost like the state-educated artists are going to a private school and finding that social shift alarming and hard to take. I understand cities need to develop and improve but London is losing some of its honesty and ethics – fewer low-cost properties and working-class/proper areas mean artists who used to fit seamlessly into those parts are either having to adapt or work harder to get their music heard. Back in past decades, when there was a band of working-class bands in the mainstream, there was a rush of artists towards London; rent was not too bad – the city still had its mix of classes, areas and tastes. Things are becoming more homogenised and that is having a detrimental effect on musicians. I will end with my conclusion regarding London: the positives outweigh the bad sides. Even if there is not a mass exodus out of the city; I am seeing many artists go up the M1 and/or take the first flight to other nations! Areas further north are appealing; cities like Berlin are proving to be more hospitable and affordable for many artists – is it only to do with cost?!

In tandem with the expense inherent is the security of music venues. I investigated this yesterday but, when we look at the state of our smaller venues – it is troubling seeing how many are closing and how fragile others are. Artists move to London for those gigs and the chance to get their sounds to the people. Whilst other parts of the country are not immune; I am concerned by the shakiness of the London venue scene. Whether increased noise-pollution will threaten the existence of these venues, I am not sure. There is a feeling things are not as secure and solid as they should be – making cities/towns further north a bit more attractive. I know a lot of artists going to places like Brighton – where there is a great community and a load of great venues. The more compacted and crowded the capital becomes; the more people available to go to gigs and support musicians. If these venues are being closed, and artists are going elsewhere, then that will great a long-term malaise London might struggle to overcome. It is, aside from all the negative prophesies, a city teeming with opportunity, hope and excitement.

London is, like every great city, flawed and over-populated. The only reason it is busy and populous is the attractiveness of living there. For musicians, it has always had that lure and impossible seductiveness. Even with problems and cracks; the advantages and bonuses of being in London outweigh all the bad stuff (in my opinion). The social downsides are evident – venues closing will keep people indoors – but there are so many spaces for artists to play. Pubs and smaller venues are starting to diversify and offer open mic. nights; events and special showcases are being run that allows the new musician the chance to show their wares. I come to the capital to experience the colours, scents and substance. London is unique and is a huge tourist hotspot. A lot of people come to London to see music and embrace the entertainment. This provides a window for artists to take advantage and perform as much as possible. I have suggested venues are closing – and there are fewer than past years – but it is not like the city has closed its doors. Competition might be high but there is somewhere for everyone: put the effort in and you will find a stage with your name on it. London has those transport links; making it easy to travel around the county and get about. It is that endlessly practical city where you can dive into the bustle and hustle or get away somewhere quieter.

Rents are starting to stabilise a bit so I feel, in years to come, the attraction of London will return. Those moving here can enjoy higher wages and a great quality of life. A lot of musicians do need to take a second job. If you are able to get a reasonably-paid job and balance that with your music; the rewards are endless. London has a fantastic buzz and the nightlife is incredible. A musician is never far away from like-minded souls and, given the eclectic nature of the city; the inspirational juices are always flowing. Whereas some areas are homogenous and limited; London has so many different races and nationalities sitting alongside one another. It is a city that wants change and to remain in Europe; it wants to be together and work towards a better way of life – that is not something you can say about other parts of the country! London gets that ‘cold’ tag without proper patience and investigation. If you are caught in the swelter of a rush-hour Tube trip then, yes, your impression of London will be somewhat strained. Most of the time, the reality is different and I am seeing more togetherness and unity than ever before. Maybe this is a counteraction of the Election result or the desire to show positivity – the spirit and bond of the people is stronger and more electric than past years. All of this will combine to create a more harmonious and attractive city.

The biggest attraction, for musicians and non-musicians alike, is the spirit and feeling of London. It does not take a sunny day to get you smiling and fascinated. One can, with proper planning and hard work, make a living here and survive without too much struggle. So many labels and stations are located in London; media eyes are trained here and, whether good or bad, that means you are never too far away from an eager journalist or ready record label – many attending gigs and events to discover that ‘next-big-thing’. The city is large but the spotlight is never far away. Musicians know the periscope is trained to the capital and with good reason: it is a thriving and sumptuous city that is producing some of the best music in the world. Whilst I am keen to see parity in terms of the North-South divide; I cannot resist the heady bouquet of London. It is a place to be inspired by and realise dreams. It may take a while – and hurdles will be placed in the way – but it is a city whose majesty cannot be dented. Tastes will dictate its coolness and relevance (those who will hate London no matter what) but, in pragmatic terms; there is no denying the quality and quantity of great music based in London. Changes are happening and, because of the political landscape; we are unsure how things will work out in the next few years. Against the descent and division is a city that wants to embrace and unify: there is no quarter provided to anti-European, discriminatory attitudes. 

The most ‘divisive’ aspect of London is, actually, its greatest strength: the multicultural communities and composition. The landmarks and tourist attractions compel awe and inspiration; the people are among the most compelling I have ever seen. There is an indoctrinated spirit that runs through the spine of London that has, for decades, wooed artists, musicians and creative. Our capital’s cultural and art is the envy of the world; we have one of the most impressive music scenes in the world – this will never be dimmed or under threat. Everyone knows what London can offer but issues like the high cost of living and crowded streets are understandable concerns. It is not easy to overhaul these problems but, on balance, London offers more benefits and joy than despair - patience and perseverance are virtues one needs if they are to adapt to a London lifestyle. If more can be done to cure issues occurring – more attention to musicians further north; get rent and high prices down – it will be even more appealing to those who want to embroil themselves in the myriad wonders of the capital. It has its faults – and is far from perfect – but, for those ambitious and hungry musicians, there is nowhere…

QUITE like London.  

FEATURE: The January Playlist: Vol.2: It’s a Surprise ANYONE Has Deep Pockets After Christmas…

FEATURE:

 

The January Playlist

 IN THIS PHOTO: Gaz Coombes/PHOTO CREDIT: Getty Images

Vol.2: It’s a Surprise ANYONE Has Deep Pockets After Christmas…

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THE best and biggest musicians are wasting no time getting…

IN THIS PHOTO: Skott/PHOTO CREDIT: Getty Images

their sounds out to the people! The hangovers have faded so, with a clearer head; we are preparing our hearts for some great new sounds. This week; Jack White, Skott and Gaz Coombes are armed; David Byrne, Jorja Smith and Sunflower Bean have new material; there are treasures from Manic Street Preachers, Camilla Cabello and First Aid Kit – new cuts from GIRLI and Dua Lipa.

It is a busy and quality week for music so, in that spirit, I have collated the finest offerings from this week's selection – guaranteed to get the weekend off to a banging and fiery start!

ALL PHOTOS/IMAGES (unless credited othewrwise): Getty Images

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Jack White – Connected by Love

David Byrne – Everybody’s Coming to My House

Manic Street Preachers – International Blue

Franz Ferdinand – Feel the Love Go

The Go! Team – All the Way Live

INHEAVEN – Sweet Dreams Baby

First Aid Kit – Fireworks

GIRLI – Mr 10pm Bedtime

 PHOTO CREDIT: @wangorya

Ezra Furman – Suck the Blood from My Wound

Get Cape. Wear Cape. Fly. – VHS Forever

Jorja Smith (ft. Stormzy) – Let Me Down

Gaz Coombes – Deep Pockets

Troye Sivan - My My My!

PHOTO CREDIT: Jaclyn Campanaro

Alela Diane – Ether & Wood

Dua Lipa - IDGAF 

Marshmello x Lil Peep - Spotlight

The Hunna – Flickin’ Your Hair

Fall Out Boy - Wilson (Expensive Mistakes)

Vance Joy - We're Going Home

ILLUSTRATION: Roy Morales

Nelson Can – Downtime

Jade Bird – Lottery

Rag'n'Bone Man - Die Easy

PHOTO CREDIT: Ed Miles/NME

The Killers - Rut

Wyvern Lingo – Maybe It’s My Nature

Sunflower Bean – Crisis Fest

Skott – Russian Soul

Field Music - Time in Joy

PHOTO CREDIT: Ronan Park

LUCIA - Melted Ice Cream

Andrew W.K. - Music Is Worth Living For

Black Rebel Motorcycle Club – Haunt

Camila Cabello – Real Friends

PHOTO CREDIT: Joshua Halling Photography

Michael Kiwanuka and Karen O – YO! MY SAINT

Nina Nesbitt – Somebody Special

Lo Moon – Real Love

Emily Burns – Bitch

TRACK REVIEW: The Rigs - The Hunted

TRACK REVIEW:

 

The Rigs

The Hunted

9.2/10

  The Hunted is available via:

https://www.youtube.com/watch?v=79XXVAkFo8I

GENRE:

Electronic

ORIGIN:

Los Angeles, U.S.A.

The album, World on Fire, is available via:

https://open.spotify.com/album/7552oTDbCvFPlBNpngSrIR

RELEASE DATE:

17th November, 2017

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THIS will be the last review of an artist with…

so few photos. That is not a shot at The Rigs – I accepted the review before my New Year’s embargo. That being said; it is nice to take my mind away from London and over to Los Angeles. I vowed to get away from our capital for a bit but, inevitably, the London-based reviews have come my way! This changes now and, in a bit, allow me the chance to talk about Los Angeles and the music of California. I want to return to the parapet of duos and why their connection is unique; a bit about standing out in a competitive market; how The Rigs’ music continues to evolve and strike; ways they could further evolve and stand out; playing in the U.K. – and why this year will be a busy one for them. I do not review albums – I keep telling people this – but I have been interested in The Rigs’ music and how it gets into the head. I will allude to their album, World on Fire, but have highlighted previous single, The Hunted, as the one to focus on. There are so many different and bold tracks on the record: picking one to highlight is hard – the limitations of my own rules, I guess! No matter because, as I shall explain, it is an intense and fascinating track from the L.A. duo. I want to come back to L.A. and why it is an area that continues to fascinate. Last year, several times, I mooted the possibility there are differences between the two big music areas of America: Los Angeles and New York. Historically, New York has always fascinated me more – I find the Hip-Hop and Rap that has come from the state has been stronger and more enduring than anything from the West Coast. L.A., through the years, has managed to rival New York in terms of style, variation and strength. We get that impression (Los Angeles) will be all about sunny music and Electronic sounds. The Rigs, to be fair, prefer their music electronic but, in keeping with the state’s ever-changing motifs; they fuse in other genres and sounds into the palette.

I have never been to L.A. – something to tick off the list for this year – but I know its vivid landscape and amazing people are enough to compel the creative mind and lead to stunning music. London is a fantastic city – as I shall argue later in the day – but it is becoming crowded and, in terms of its music scene; perhaps it lacks the same innovation as somewhere like L.A. Perhaps that is to do with the scenic splendours of Loa Angeles; the space available and the kind of artists playing there right now. The Rigs’ TJ Stafford and Caitlin Parrott have a very immediate and sexual connection. You can feel a passion between them, and so, when they record and perform; there is that understanding and bond. Everything is deep and immersive; the music has a more alluring and complicated quality. I will come to look at that advantage but, in terms of where they are based – I feel New York is starting to lose a bit of headway in the coastal race. I have looked at the five boroughs and the music coming from there and, whilst striking and strident; there are fewer standout artists than previous years. Some fantastic new Hip-Hop artists are intriguing, for sure, but L.A. hooks me with its width, colour and excitement. Other areas of the U.S. – Nashville and Austin – are producing wonderful music: to me, there is nothing quite like L.A. Who knows how the city will progress but, with the likes of The Rigs producing strong and always-changing music; I have no doubt the duo will continue to rise and conquer the city. The fantastic venues (another point I will explore) and a strong neighbourhood mean the music coming from here means it is at the forefront of the musical consciousness.

Great duos have always been on my mind but I feel 2018 will be a big year for them. Solo artists are dominant and, with bands not quite able to exert the same influence as they once did – this year will see smaller formations take some initiative. To me, bands succeed and remain when they produce people-uniting, popular sounds. A lot of the new bands coming from either possess little clout or unable to compel the mind. At times like this, for bands, I want songs that bring the masses together and stray away from the demands of the mainstream: something that gets the voice singing and talks about what is happening in the world. Solo artists and duos do not have that burden. They are able to explore more and, because of that, are proving more popular and mobile. Duos could, in theory, easily succeed. If they tried to force the same aspirations as bands – and go for something big and generic (not all bands sound like this: there are those who differ) – then that could be risky. Most duos, I have found, prefer to stick with electronic-based music. I am not sure why but, I guess, it is harder to produce a proper-full Rock sound or summon the command of a Punk band. Electronic music has a flexibility other genres do not and is free to assimilate all other genres. The Rigs have noted this and, on their debut L.P., sprinkle in all kind of sights and fabrics. It is a fascinating blend and comes with that rich vein of emotion and physicality. There is a very real and urgent relationship from the players. I am not sure what their status is but, when you hear the music; there is a deep understanding and flow that can only come from two people very close and connected.

Duos are either composed of good friends or lovers. That might be true of every act but, compared to bands, there is little wiggle room for anonymity and distance. A duo is like a relationship and, if you do not have complete faith and affection for one another…that will show. Even if it is only friends making music together; you are recording, writing and performing together – and any sign of weakness is more evidence than, say, a four-piece band. Stafford and Parrott could tire of one another and argue for control and influence. Instead; they have a solid foundation and respect and, as writers, are on the same page. Since 2014, the L.A. duo has managed to compel the city and get into the critical mindset. Listening to their album, World on Fire; I can only imagine the recording and writing sessions. It is wonderful hearing them work with each other and weave their magic; bring that intimate and vivacious connection to the forefront. If the music The Rigs was producing was weak and insincere then I would overlook the relationship connection and suggest they were not right for one another. There is a clear and unbreakable chain that unites the two and, when it comes to their music, they allow one another to experiment and express. Another reason why I feel duos will make a stand in 2018 is because of the lacking role of bands. We want to discover a solid unit that can provide a fulsome sound and songs that get into the brain; music that keeps on producing and providing wonder long after you have heard it. There are, I know, some awesome bands but there are few that lack real bite and endurance. Duos seem to feel that gap and, those like The Rigs, can clean up. The guys have the intensity, intelligence and force of a band but, unlike a lot of the groups in the mainstream like now; they want to earn credibility as opposed money and streaming figures – some of the worst lures of modern music.

The Rigs could easily fade into a packed and busy market. Many are noticing the quality of duos and, as a reaction; that is seeing others form and come into the music world. I have mentioned how electronic-formed music forms the basis of most duo music – because it has that nimbleness and chance for endeavour. This is true when you listen to The Rigs. If they were to copy everyone out there then that could lead to a very short career. The fact they have been performing together for four years means there is a demand and need for what they were providing. I am hearing a lot of like-minded duos that are performing variation of Electronic music but are not showing much originality and determination. They seem happy to stay in the rut many have assumed and never think about going any further and making any real impact. This is true of duos in the U.S. and U.K. and I wonder whether one of the biggest shake-ups needs to be quality control and skimming. There are loads of duos and, whilst they are leading the bands; there are so many that do not really resonate and stun. The Rigs have seen the market build and change and, realising how the average duo operates; they have taken a stand and spent much more time on their music. What amazes me is the way you imagine a fully-fledged band when hearing their sounds. It is fulsome and dramatic but, when needed, it dips down and puts the lights out. If they were to produce a one-dimensional sound then that would be foolhardy: the guys take in so many other sounds and always ensure their music is disciplined and on-point. So many other duos throw loads into the mix without thinking about formation, consistency and nuance. I am worried commercial trends – more people lusting after duos – means many are rushing into the market and not considering the importance of quality and depth.

Maybe I am being a bit too severe but, with music being so busy, there are no excuses for taking shortcuts and playing it safe. Up-and-coming bands like Confidence Man are showing duos where they might head. That may seem like a strange angle but, if you listen to their sounds; they are producing music unlike any other four-piece and playing around with electronics. There are a few duos who match their innovation and colourful hues but, for the most part, one gets something more muted and restrained. The Rigs, in their own way, have the expansiveness and quality of Confidence Man but I feel, as their music progresses, they might take on some of their sound. Many might assume The Rigs are a very serious and emotive duo. There is venturing into playful territory but, given the comfort and faith Stafford and Parrott have (with one another); maybe they will explore a fizzier, bubblier brand in the future. I am not trying to lead their career because, as we hear with songs like The Hunted – they are among the most impressive duos out there at the moment. My point is the best and most necessary duos are those who can provide quality and effectiveness without compromising. Of course, you need to grab the ear of the mainstream but not compromise and settle for something easy. Too many in music are bargaining quality and innovation for something muted and unspectacular. There are duos who fail to register - but I feel the best out there are much more affecting and appealing than the best bands around. The Rigs take from the surroundings of L.A. and dip into the past of music. They, I imagine, grew up around an array of artists – one hears that in everything they do. The connection and relationship help but that need to stand out and impress is the strongest facet. Here are artists who do not want to play to small crowds and be seen only as local heroes.

The Rigs’ music has evolved and built since 2014 and I am impressed by that. They could cement a sound and then repeat that for years to come. World on Fire is their debut album but they have produced a couple of mini-albums since their formation. I notice, with each one, you get different influences and aspects. They are such an eclectic duo and, with every move, improve and add new elements. Because of this, the guys have seen their music come to the attention of the T.V. industry. True Blood, Parenthood and Pretty Little Liars are a few shows that have featured their music. That is no small feat and, given the success of these shows; who knows how many people would have heard their tunes?! Their album, produced by Michael Smith, is solid and extraordinary. Smith has worked with the likes of Britney Spears and Kesha but you never get a sense of either artist in The Rigs’ album. There is a big sound and experimentation but nothing bombastic and Pop-based. The music (of The Rigs) goes deeper and has a more enduring and endearing skin. I will allude to certain tracks and their standout characteristics but, with that T.V. exposure and great producer under their belts; you have a duo who have taken steps to outlive and stand aside from their peers. Talent and passion account for their success but making that bold move in terms of producer mean they have a man who has worked with some of music’s best names. Providing his insight and experience into the mix; one gets a combination of young and hungry artists and an older hand. I wonder whether they will work together on future music – or whether this is the only pairing we will see. The production is never too shiny and plastic and, whilst it has sheen and polish here and there; the emphasis is on bringing out the true personalities of The Rigs’ creators. It is a stunning concoction that means every song gets under the skin and has its own identity.

I wonder whether the duo will come to the U.K. because, as I see it; they are on the rise and creating their best music right now. Their debut album is not the first thing we have heard from them, I know. The E.P.s did good business and seen them accrue a band of fans and supporters. Reviewers and journalists are behind them and the California scene is buzzing and responding to their sounds. I am excited to see how far The Rigs can go but, as we are in 2018, I wonder whether they will come over here. I am not sure whether they have played the U.K. – I can do more research, I guess – but it seems natural they would want to appear here. Whilst we do not want President Trump stinking up our country: a trip from The Rigs would be welcomed and much-needed. We have a big and expanding Electronic/Pop scene and duos who would support and play alongside The Rigs. The venues and spaces we have here would put them up so maybe, let’s hope, there is a mini-tour of the U.K. planned. It would be wonderful seeing the guys here and hearing their music in the flesh. Now, with an album out, there is a demand and desire for the music of The Rigs. They will be busy playing their local area but I wonder whether U.S. dates will take precedence. The nation is huge so it is understandable should they want to remain here and cover as much (national) ground as possible. International dates cost a lot of money and it can be quite a struggle affording that kind of ambition. With their music popular with producers and the entertainment industry; I feel there are shows and directors here who would like to experience The Rigs’ music close-up. Let us not get ahead of ourselves and put words in their mouths – I hope they think about us in the months to come…

“They come with bows and arrows” the heroine speaks. It is a chilled and slightly wary vocal that points to possible chase and anxiety. Maybe she is being stalked and love, in all its cruelty, is ready to take a shot. Perhaps it is more a feeling of general unease and the way life can close in. The first few moments see the song exult shimmering synths and a mix of warm and cold. It is a cinematic and rousing introduction that manages to project stir but keep restrained and controlled. The teasing and softer vocals mix with the more spirited instruments to create a juxtaposition. Our girl is the chosen one and hunted; she is being chased and selected for this special ‘honour’. The video sees lovers in bed and, as the heroine awakes; the head is sore and the eyes wary. She touches her man and then, as she gets out of bed, there is a ringing in her head. That might be a niggling doubt but one suspect it is something that has been there for a while. Intangible yet raw and persistent; a voice that resounds in the brain and creates a feeling of stress and worry. I am not sure whether this hunter has discovered infidelity and transgression from the pair – maybe they are cheating or not being as pure as they could be. Perhaps it is the clock of love telling (the heroine) things are going to end. Whatever the origin; you bond with her and the pain she is enduring. That always-soft voice never explodes but, instead, investigates and poses questions. She is being pursued and is not being given time to rest. Why is she being selected and hunted? What does this all mean? Will it end soon? These are considerations that need answers and, as time goes on, that pain and fear come to the surface.

Other songs that appear on World on Fire have a more spirited sense of attack but this is one of the more emotive numbers. The instrumentation creates a storm and sense of drive but it is that impactful and meaningful vocal that stands out. You are brought into the songs troubles and turmoil. Rather than stand aside and plea with the heroine; the listener is motivated to take action and explore. The song gets steamier – the video certainly does! – and, against the bowing and weapon-priming; the lovers are racing and arm-in-arm. Some of the words, unfortunately, get buried in the composition and production. Rather than put the vocal higher up – making them more intelligible and clear – they are drowned, at times, by the electronics. That might be for dramatic effect but it means some of the words get drowned and swallowed. Perhaps that is to create a certain sense balance but it would have been good to pick up a few more of the words. It is a shame because Parrott’s voice is so full of life and contours. It expands and flies as the song progresses and shows the determination to overcome and succeed. The duo’s erotic and passionate kiss – as one sees in the video! – is in the foreground as, behind them, protestors are holding signs and trying to break the glass. That might suggest what the song is about: people not approving of their love and trying to undermine it. The sense of impending violence is there and, with Smith’s production turning the tension all the way to eleven – the listener is compelled and hooked right up to the last note. The closing moments of the song bring in rapturous notes and snarl; the song comes down and those questions and declarations are left there. I wonder whether the sweethearts were afforded peace and whether they managed to evade the chasing hunter. The Hunted is a stunning song that showcases what a tight bond Parrott and Stafford have. They ensure the song remains fascinating and emotive from the first to last – not many artists can do that with such ease!

The Brave is a perfect, carnival-like way to open World on Fire. It is an instant and explosive song that sees Stafford’s vocals howl and build; rapture and explore. Parrott’s alto creeps through and ensures every chorus is bolstered and electrifying. Runaway is a synthy track that has a Pop edge and can be seen as one of the more ‘traditional’ and accessible tracks on the record. Fall or Fly, a standout, sees the duo combine and blend their differing tones into a harmonious whole. It is a sumptuous and emotive track that really does remain in the heart. Exploring issues like broken relationships seems, to them, have a very personal and emotive edge. I know that sounds odd but it seems like, on that song, they are speaking about their own relationship and how close they are. Maybe they have taken from separate relationships but one can see an assessment of The Rigs’ connection and how they are joined together. White Flag – not the Dido song, fortunately! – frames a powerful Parrott vocal that hits their gut and creates one of the biggest emotional reactions on the album. It is a reflective and emotive song that differs from the brighter and physical tracks. That contrast means listeners are enriched more than an album that took a more linear and predictable course. I have summarised the album but that is what one can expect if they delve in. These tracks, mentioned, are among the finest but, to be fair, that is only skimming the surface. World on Fire is a rich and rewarding record that warrants some serious time and attention. Make sure you align yourself to L.A.’s The Rigs and experience the full breadth of their new album. I know the duo will go far and continue to exert influence and produce fantastic music. 2018 has only just begun but, with their album out in the ether a couple of months; attention is still coming and the desire to see them perform is strong. Were they head is up to them - but there is no part of the world who will be…

IMMUNE to their charms.

_______

Follow The Rigs

Official:

https://www.therigsofficial.com/

Facebook:

https://www.facebook.com/therigsofficial

Instagram:

https://www.instagram.com/therigsofficial/

Twitter:

https://twitter.com/therigsofficial

SoundCloud:

https://soundcloud.com/therigsofficial

YouTube:

https://www.youtube.com/channel/UCxVEZAWfCAeGotldk5bbI0w

Spotify:

https://open.spotify.com/artist/4QrBV4OBjd798x3Aov1Yjy

INTERVIEW: Nath Bravo

INTERVIEW:

Nath Bravo

_______

IT has been a while since I have featured any artists with…

Mexican heritage. Nath Bravo is, perhaps, the second musician to hail from that nation (I have featured). She talks to me about her time in London and whether residency is a long-term possibility; if her hometown has/had a great music scene; which new artists are striking her heart – and whether we can see her tour over here.

She discusses her current single, Shadowman, and whether more material is due; what her fondest memories in music are; the three albums that mean the most to her – some useful advice for artists coming through at the moment.

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

Hey! I’m fine, thanks. It’s been all good.

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

Well. My name is Nath Bravo. I’m twenty-one-year-old and I make music. I’m originally from Mexico but I just moved to London a couple of months ago to promote and perform my music - which is basically the result of a bunch of influences I’ve got; from genres such as Jazz, Blues; Rock and Alternative.

Talk to me about Shadowman (released last November). What is the inspiration behind the song?

Well. For this song; I did have a particular subject in my mind to be portrayed: fear. It was mainly based on the way I was feeling while going through some scary times in my life - in which I just couldn't find a scape. I kind of just faced it the only way I knew: making music. It’s a tribute, I think, because I know we’ve all gone through that specific state of feeling trapped in some sort of mindset. I brought fear to life as a character I named ‘Shadowman’ - and I’m just trying to describe the way I see/feel/experience fear most of the times.

Will there be any new material coming this year?

Hopefully, yes. I do have new songs and I’m constantly writing. So; if everything works out the way I’d like to…yes, that’d be fantastic.

You were born in a small town in Mexico. What was it like growing up there? Was there any sense of a music scene at all?

It was quiet. I didn’t have many friends as a kid. I think I was a bit scared of people…

But; I do have a really loving family, so we’d spend all of our holidays together - sometimes at home, traveling somewhere or just hanging out with all of my cousins and relatives. There wasn’t a lot to do - but enough for me to collect many beautiful memories that still make me happy. My parents are photographers so I’ve always been related to art. My mom also loved singing when she was a young woman - but I think I got into music by myself. There isn’t a lot of a ‘music scene’ in my city: only small contests I always joined (and choirs etc.)…but not a lot.

Mexico has so much to offer and a lot of beautiful music - but finding the right places for you as an artist is sometimes hard if you live in a small town.

Do you spend a lot of time in Mexico? What is the music culture like in the country?

Yes. That’s where my home is; the place I always go to after traveling. The music culture is really different. I think there are many great artists in my country, and our ‘classics’ have turned into some sort of anthem for us. It’s diverse, rich; colorful, interesting. I love boleros and mariachi whenever I listen to them…I just go back in time.

There’s also Rock, Pop; Jazz and more international things as well - it’s diverse if you know how to find it.

It seems like music came into your life early. What made you take up performance and songwriting? Which artists inspired you to write your own material?

As soon as my parents realized I could sing; they’d always encourage me to do it - so I just started loving it more than anything else. I took some piano lessons for a few years but then quit because that training wasn’t for me. When I was thirteen; I started to take my singing as a serious thing: I self-taught (myself) to play the piano and, eventually, started writing my own songs.

I have to say that one of the main reasons I started to write music was: Jazz. Nina Simone was the first approach I had to songwriting as something beyond my own singing. It was all about having that fire in your stomach that comes when you are completely lost in music. I just fell in love with it…the process; the beauty of free expression, freedom itself… it’s all pure magic.

She’s one of my biggest inspirations of all time.

How have you found the audiences in London? What has it been like performing in the capital?

Wonderful. I’ve loved it.

This is my second time in the capital and I have to say that there’s something so great about audiences in London: they listen. They accept new ideas, sound and projects.

That’s amazing.

Do you think you’ll stay in the U.K.? Is it somewhere you feel connected to?

I wish I could: I’d love to stay. I’ve felt really connected to Camden, here in London. I just love its diversity, the vibe and how cool it feels to be around in a really vibrating, colorful place.

IN THIS PHOTO: LP/PHOTO CREDIT: @kezianathe

Who are the new artists you recommend we check out?

LP (Lost on You (the live version) is a must); Charlotte Cardin; Moncrieff; Ibeyi; Tash Sultana (of course) – and, yeah; I might have more…

But I can only remember these at the moment.

IN THIS PHOTO: Tash Sultana

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

Live at Wembley '86 – Queen

It’s Queen, that’s why. I mean; whenever I feel like I can’t handle music, problems or life in general; this album would just bring my broken-self into one piece again. It’s just the most amazing thing ever. Such an amazing live performance: so energetic, filled with the purest passion…I’m a huge fan. So, this is like liquid-gold for me.

Hozier - Hozier

This man is amazing. I (just) love the sound, his songs. I remember I’d listen to this album over and over again every day for a while. I was sometimes struggling with my own music; so this album helped me to remember that I always have to trust myself and my instinct as a musician. It means a lot; maybe because I listened to it at the right time.

Themes from Calmi Cuori Appassionati (soundtrack) – Enya

My parents are photographers so, when I was a kid, they used to go all around the country and the States to do workshops - and I used to go with then every time I could. They’d make these videos with all of their best photographs - and used Enya’s album as the soundtrack. So; it brings me to a really melancholic memory of my childhood.

Is there any advice you would give to fellow artists coming through right now?

Be patient, be true to yourself; work hard, don’t overthink - and enjoy the ride. There are more people going through the same thing as you - so don’t worry too much and don’t be scared to ask for advice/help.

What other gigs do you have coming up as we head through 2018?

The closest date is on January 17th here in London. The night is called The Round and I’m gonna be talking about my songs, too. Gonna be cool.

More gigs will be announced on my social media, as well.

Looking back; what have been your fondest memories of your time in music?

I have many…

One of them is from two-and-a-half years ago. I was at this big event; it was a national competition for songwriters organized by the University where I was at that moment. I remember being surrounded by so many talented people all playing some great things with a full band - and I was so scared cause I was going to be performing a song I wrote all by myself with only my piano, so…

It was almost time for me to go on stage and I still remember I just took my earphones and went backstage to lie down on the floor. I played Why? (The King of Love Is Dead) by Nina Simone; because it was the only way I could stay calm. I literally didn't take the earphones off until I was seated in front of the piano - with all of those faces staring at me. I was stunned, in shock and I just started playing.

That night, I became the national winner (after being so scared and without even expecting something back from the whole thing). It was surreal, inspiring. I think it was since that day that I decided I wanted to do that for the rest of my life. I’ve met so many amazing people on this journey and have also faced music itself in so many different way…

I wish I could tell you all of them.

Do you have any ambitions of resolutions for this year at all?

I always do but, first of all; I’m gonna keep on promoting my E.P. and, later on; I really want to work on the latest songs I’ve written. I’m gonna keep on working and playing and, hopefully, finding the right places and people to work with.

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

Excuse Me - Nothing But Thieves...or Sirens – Fleurie

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Follow Nath Bravo

Official:

https://artist.spinnup.com/nathbravo

Facebook:

https://www.facebook.com/BRAVONATH/

Instagram:

https://www.instagram.com/thenathbravo/

SoundCloud:

https://soundcloud.com/nathbravo

Twitter:

https://twitter.com/thenathbravo

Spotify:

https://open.spotify.com/artist/50MLDp0XLGoVynTpJsDkEP

YouTube:

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

FEATURE: Agent of Change: The Ongoing Desire to Preserve Britain’s Music Venues

FEATURE:

 

Agent of Change

ALL PHOTOS (unless credited otherwise): Unsplash

The Ongoing Desire to Preserve Britain’s Music Venues

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IT seems like this is a constant thread of all I do…

but the ever-changing, always-rumbling debate around music venues and their survival attract press and discussion. It has come to the stage where facts have shouted loud: thirty-five-percent of all music venues closed in the past decade (in London). Some of them would have been very small; others would have sprung up – the evidence is still damning and troubling. Artists such as Isaac Gracie and Sir Paul McCartney have come out and spoken about the issue – and how important venues are to the British music scene. The implementation mooted would employ the ‘Agent of Change’ theory. That would mean developers would need to fit soundproofing to all new developments built near music venues. This will start in London but it is hoped it will become law throughout the nation. There are other reasons why so many venues closed in 2017 – aside from noise and complaints – but that is a good start. Many people buy houses knowing full well they are close to a venue. Extraordinary naivety means they move in and, when they hear music coming from the venue, a complaint is lodged (from everyone nearby) and that puts pressure on that spot. Many have closed because it is a lot easier closing the venue rather than getting rid of the flats/houses.

A lot of these ill-fated venues have been in the same spot for years/decades; they were operating fine for years and then, when new houses are erected, that leads to issues. One can say the idiocy of the developers did not take into account the fact a venue would produce noise and pollution – they went ahead anyway; driven by money and greed. Those who move in display a complete lack of compassion and compromise. In a lot of cases; the amount of noise thrown out is not that severe: delicate ears and snobbish residents feel any unwarranted sound is a violation. So, what we have seen is a hose of great venues shutting their doors due to new developments. I realise houses need to be built but, not only is a lot of green land being squashed and covered-up – some legendary, community-uniting venues have been sacrificed. Isaac Gracie was among those to come out recently and profess his love of the live music scene. He highlighted how important they are to the community; the fact they bring people together and can create a lot of tourism and business. People will come to see that band/artist - and having a great venue on your street adds a sense of cool, class and opportunity. It means you are never far from a good night out; there is a place to hang with like-minded people; discover great new artists and have a chance to unwind.

Take (the venues) away and you are causing social deprivation and blighting the landscape of a town/city – that empty venue has to be rebranded and repurposed; it looks ugly and means a lot of money has to be spent putting a new business in there. I am pleased new guidelines are coming in and let’s hope they are implemented as soon as possible. What we need to see happen is, if anyone is building within a certain radius of a music venue; check the sound levels and, if they are seen as too ‘high’; ensure soundproofing is put up. If you are then showing people around said developments; there is a due diligence to inform them that, even with soundproofing, there may be some slight sound-bleed. If every side is compliant and informed then you cannot have any cause for complaint. I feel those who buy houses near music venues know the risks but want to bully others. I do not believe they are unaware of the noise venues produce and did not see them when viewing the place. It is the selfish and myopic minds of those property buyers who have been responsible for so many needless closures. Many might argue that, if you have to build houses a certain amount will be constructed near music venues. That is true but, as we know, even the most raucous venue is not going to be causing that much noise – unless they have their doors open a lot and a load of people are coming in and out.

A lot of pubs have gigs and D.J. nights and you have problems arising – many complain about the noise and it can lead to dispute. It is harder soundproofing existing residences because of the cost the owner will incur. New-build properties need to be more conscious of the need to protect the venues we have. I am hopeful the scheme will conserve a lot of venues and create greater harmony between the owners (of venues) and new home buyers. Whether it is a high-rise block of flats or a rather posh set of houses: getting them soundproofed and insulated is paramount. We cannot see more venues close because of complaints and a lack of foresight. Isaac Gracie was right when he highlighted the community angle: people converging on a venue and able to bond with their fellow man. Sir Paul McCartney raised a more alarming and eye-opening concern: many venues are closing because of other reasons. Whilst that Agent of Change principle will address sound and noise-pollution; one has to ask whether more should be done to protect other structural concerns. Look at the financial struggles and social trends; the increased role of digital streaming – other reasons why so many venues are endangered. McCartney knows the importance of great venues more than most people alive. Imagine if Liverpool’s Cavern Club existed today – or was based in London. I would genuinely fear for its future and the fact it has survived all these decades should be applauded. Maybe it is the wider folk of Liverpool; the fact it has been responsible for launching The Beatles – as they played a lot of their earliest gigs there – but one cannot overlook that landmark.

IN THIS PHOTO: Sir Paul McCartney/PHOTO CREDIT: Getty Images

That space is, of course, housing the new breed and part of the city’s fabric. I know the future of any venue is never certain - but one would hope such an iconic spot would be safe from bulldozers and complainants. McCartney’s concerns related to the shifting landscape and how the live music scene is dwindling and shrinking. There are a lot of us who want to see live music and have that appetite: if there are fewer venues around then where are they to go?! London still has its fair share but I have seen many close down. Some great pubs/smaller venues, who have helped forge the careers of great musicians, have had to close and, in the process, denied the new generation a chance to take to their stages. Sound insulation and pollution are important concerns but there are other factors that need to be addressed and tackled. The price of alcohol and the cost of an average night out/gig is increasing and is especially raw in the city. Throw in the rising train prices and commuting stresses – are people finding it easier staying in and listening to music online?! Music is getting busier by the month so the need to not only safeguard but grow the local scene is essential. No musician can survive on the Internet alone: they need gigs and a chance to hone their craft; get out to the people and earn money. T.V. and film have not gotten any better but, as there are fewer venues – meaning the average punter needs to cover more miles to reach the nearest one – they are opting to stay in and save some money. Inflation is always going to have an effect on any business but there are other factors…

It is great having platforms where any musician can put their music out to the people and get it heard instantly. I fear that openness and huge market means there is less focus put on physical, live music. Anyone can get a song for free and ‘discover’ an artist without leaving the house or parting with money. Established musicians like Sir Paul McCartney know digital outlets are important and essential but that needs to be accompanied by traditional live music. No artist, as I said, can survive online and forgo gigs. The only way they improve, grow and gauge reaction is to gig; bond with the people and get instant, physical response. I will talk about London in a feature later this week but I am worried there is a split between the capital and other areas. I understand London’s music scene is vibrant and exceptional – most of the big labels are here – but, with so many artists moving to the capital fearing they cannot get gigs and visibility where they are; it means there is a centralisation of venues. Cities fare better but nearby towns/villages are suffering because their artists are moving away and finding more life/money/people in London. That creates crowding and, going back to the issue of noise – the more people you put into a city, the bigger the epidemic becomes.

Existing tenants/properties are rallying against the increased noise and issues like Drugs and anti-social behaviour is compromising the security of many venues. I will not throw in figures regarding turnover, closures and arrests: we all know the problems that are affecting our venues and the structural rigidity of the live music scene. All of these factors need to be taken to heart and discussed. A lot of the ‘traditional’ corners – record shops, C.D.s and venues – are disappearing but, like the revival of vinyl; I know there is that extraordinary thirst for live music. The demand is still there but one cannot ignore the financial barriers; the way local venues are closing; why artists are moving to the cities – and the rise of new flats and the noise complaints that come when people move in and grow weary of the musical disruption. The concept/name suggests a Justice League for music: acolytes for parity and happiness that go around and make sure our music scene is secure and warm. That might over-romanticise the notion but I am pleased action is being taken. I feel one of the most insane and infuriating reasons why venues are closed is because of the people who move in near (a venue) and get a shock when they hear a bit of noise coming from it! Whilst you cannot cure stupidity: soundproofing new properties is a much-needed measure.

All musicians and fans want to see venues remain and succeed. Yesterday, it was announced the Agent of Change Bill will get a second hearing in Parliament on 19th (January). It is a step closer to a new law that will make a big difference in music. I am keen to see how far it can go and, when/if implemented, how effective it is. The movement is much-needed and shows a desperation to keep our venues safe. We cannot see them close needlessly and damage the future of music. There are some things the Internet/streaming cannot replace: the raw and real connection with an artist one gets when seeing them at a live venue. I realise there are complexities and unavoidable hurdles; things that will happen that will threaten a certain number of venues. Those all need to be addressed to see if there is a way to minimise danger and damage. Artists like Sir Paul McCartney have expressed their fears for the future. It a worrying time for music but I am glad to see progress being made; proof there is action being taken and a practical step to avoid some of our venues closing. Musicians old and new need venues to cut their teeth and test their material. If we keep the high-profile, established venues – and close down those smaller and less profitable – it means there will be fewer local artists (who move to the cities to get gigs) and that will have an effect on the communities there. We should not fear the future of music: embrace all the changes and have hope the live scene will grow and inspire. The only way we can adopt this attitude is to ensure there are no needless casualties. The Agent of Change Bill, and the musicians backing its implementation, is a huge step towards…

MAKING live music a safer, more stable landscape.  

INTERVIEW: OMYO

INTERVIEW:

OMYO

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THEIR current single was released late last year…

so I wanted to speak with the London duo OMYO about its story and background. Tom and William talk to me about their upcoming material - and whether we can catch them in the live setting. I was keen to know how OMYO came to be and whether there is any significance behind the name/acronym – and how the guys saw in the New Year.

They tell me about their influences and, on Wait for Your Love, the all-star production team they worked alongside; how it feels being a D.I.Y. act; working with Nicole Gregorczuk on their latest song (she will appear in the video); the new artists they recommend we check out – some advice for any new artists out there…

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

Hey; how you keeping?! It's been really busy, actually.

Went to Fashion Week this week - and been sorting out a plan for our tour and album release later in the year. 

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

The band is called OMYO. We've been together three years. We met randomly and New Year’s and made a drunken bet to write a song. Since then, we have played for BBC introducing; gigged in N.Y.C., Poland and Germany... 

How was Christmas for each of you? Did you get to spend time with family?

Christmas was nice - yeah we just chilled, really. Been eager to get back in the studio and continue where we left off last year!

Excited to get back gigging and making music…

I believe there is quite an interesting behind the story of OMYO’s creation? Is there any name-link between you and Yo La Tengo’s OHM at all?!

Hahaha; unfortunately not..

The name stands for 'Our Music, Your Opinion'. We needed a band-name - and thought it worked well. 

Wait for Your Love is the new song. It is an instant corker! How did it come together and what inspired it?

Ahhh; thank you! Really appreciate it.

The song came from a small relationship that didn't work out - and had been a waste of a lot of time (as we were so busy). So; it was initially an instrumental way of expressing the frustration which we then both connected on and built the full song - as we’d both been through these situations and thought how it could be relatable for other people.

I believe there is an all-star team producing. Tell me about their role and how you came to work with them.

Yeah; we have an amazing team working around us! We work with so many amazing producers! They've worked with some of the biggest House and R&B names out A.t.M.!

We just met them through studio sessions and became friends. We are actually the main producers on this song - which was a big step for us - and we brought in other guys for influences. Then; the final mixing was done through Dean Barratt - who has worked with some amazing people - because we met in the coffee area of our studio and became good mates.

He now mixes all our music! 

William. I believe the forthcoming, D.I.Y. video is your debut. Tell me about the concept and where it is being shot…

The video needed to be done short notice and on a very small budget; so, whilst not able to sleep, the idea suddenly came to mind to do it ourselves. I managed to reach Steve Glashier in Berlin - as we were out there for a show. He's an amazing director and he actually did all the filming; he was an amazing mentor - to help me learn the process - and I think the result really is great…

It’s a mix of taking small, loving moments and making them emphasised; to show how much they can mean - along with using colours to show how the emotions can be in a relationship. 

I believe Nicole Gregorczuk will appear (in the video). What was it like working with her?

Yeah; really good! She's such a professional. She adds an edge to the video. 

Are there plans for more material in 2018? How do you feel Wait for Your Love differs from previous tracks like Mysterious Girl?

Yeah; we have so many tracks finished - probably enough for two albums.

I think Mysterious Girl was more of a Club/Dance vibe: Wait for Your Love allows you to get lost in the story and picture the real emotion. 

You are independent and do not rely on labels and hype-machines. Is that preferably in terms of what you want to do? What is it like having stations like BBC Radio 6 Music and BBC Radio 1 behind you?

Yeah; we love the freedom that comes with running our own label.

We have full power and overall control in terms of creativity - from styling to the videos we shoot. It's great - and it helps having the backing of radio (playing the music you're creating). It’s been a lot of learning: from online marketing to Photoshop branding; networking with fashion brands and pitching constantly around the world. 

 PHOTO CREDIT: JP Cooper/PHOTO CREDIT: Getty Images

Who are the new artists you recommend we check out?

We're a massive fan of JP Cooper, The Weeknd; Tom Walker and NF.

  PHOTO CREDIT: Tom Walker/PHOTO CREDIT: Getty Images

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

Tom: Born to Do It by Craig David

All of the songs are massive tunes. It is such a feel-good album - and this is the first album I ever bought.

Will: Bloom by Machine Gun Kelly

It is really special to me: it helped me through a very dark patch.

Is there any advice you would give to fellow artists coming through right now?

Tom: Just keep doing what you're doing! Believe in your work and hustle! People won't come and find you: you've gotta find them.

Will: Be stubborn. If you have something and it’s different and you truly believe in it…one day, people will also realise its potential. You have to believe it’s the best you can be and then go after that dream with all you have; don't take ‘no’ for an answer - and remember there’s so many different ways to get to a goal if, first time, you fail.

Can we see you perform anywhere soon? What gigs do you have coming up?

We're playing several dates over the next few months, starting with 13th January (date) at Notting Hill Arts Club. (All our dates are online at omyomusic.com). 

2018 is here. What do you have planned in terms of personal goals and ambitions? How did you both see in the New Year?

Our personal goals are very similar: trying to push for regular national air-play; to be the best artists and label-owners we can; to keep competing with the majors; to inspire other independent artists - and play as many gigs as possible.

We (just) saw in the New Year with our families (which was nice). 

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

Craig David - What's Your Flava?

Bee Gees – Stayin’ Alive 

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 Follow OMYO

Official:

http://www.omyomusic.com/

Facebook:

https://www.facebook.com/OMYOMUSIC/

Instagram:

https://www.instagram.com/omyomusic/

SoundCloud:

https://soundcloud.com/omyomusic

Twitter:

https://twitter.com/omyomusic

Spotify:

https://open.spotify.com/artist/55ljRDIZC2YbMFEpCK9xzA

YouTube:

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