INTERVIEW: Jasmine Rodgers

INTERVIEW:

  

Jasmine Rodgers

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WHEN a critic labels a musician ‘special’ or ‘original’ you always have to…

PHOTO CREDIT (AND PROFILE PHOTO): Maria Aragon

take that sentiment with a pinch of salt and appropriate cynicism. Often hyperbole-driven and too-eager-off-the-block-effusive: there is no such quibble or debate with regards Jasmine Rodgers. Growing up on everyone from Led Zeppelin to Hip-Hop (Free frontman Paul Rodgers is her father): it was a varied and expansive musical upbringing.

An Alternative-Rock artist with a Japanese poet mother: it is hard to think of anyone quite as individual and fascinating as Rodgers.

Blood Red Sun is released on October 28^th and a self-released, 11-track album from Rodgers. It shows the breadth, depth, and beauty of her voice; her stunning, evocative songwriting and heartfelt performances. Having experienced such a whirlwind and fascinating 2016; I was keen to catch up with her and see what was in store – the themes and stories that influenced Blood Red Sun.

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Underwater will appear on Jasmine Rodgers' forthcoming album, Blood Red Sun

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

Hiya. Very well thanks: just spent a week in California with the flu but I’m sunburnt so it’s all good.

For those new to your music and influences: who were the artists that compelled you as a child?

Led Zeppelin, Ella Fitzgerald, Nick Drak; Inxs, Prince, Aretha; Miles Davis, Plenty…. these were some of the ones that were on repeat when I was little.

Of course, being the daughter of Free’s Paul Rodgers, you must have had quite an unorthodox and memorable upbringing. Was it quite unconventional and are there any particular memories that stand in the mind?

That’s the thing, you only realise that it might have been unconventional as you get older. Dad was away a lot but when he was around then the house was filled with music and musicians. Ahmet Ertegun was a regular visitor and I loved the smell of his cigars. Lovely man.

Your household was obviously very artistic and creative. Do you think you would have become a musician were it not for your parents’ influence?

Maybe not. I’m equally drawn to writing and painting, but also to zoology and I did pursue that quite seriously; but music is the one for me that allows me the greatest room for my kind of expression and I look at everything with music in my mind. For me, life without music would be colourless.

You are based in London at the moment. How does the city and its people inspire you as a songwriter and woman?

I like London people. I love the sense of humour and actual helpfulness. You only need to ask and people will help. I think we get a reputation for being cold but a good joke or authentic interaction and we’re right there. We’re mixed and I love that. As a woman, that’s great too. It is hard to live here in that it’s fast-paced and expensive and there are so many people that I think people can get a bit lost but in terms of inspiration there are so many stories being played out every day.

[youtube https://www.youtube.com/watch?v=S5pjj2qPc5c&w=560&h=315]

Icicles and Sense formed part a double A-side. What compelled you to write those two songs and were you surprised by the huge reaction they received?

Both have really different reasons for being written. Icicles was done in one go and it was kind of a prayer for resolution; but also, whenever I sing it I see huge waterfalls and beautiful scenes. Sense was about not being heard/understood and how crazy it made me. I always imagine singing that one to the dark. I was touched by how well they have been received but I love them too.

A lot of artists tend to focus heavily on love and heartache. Your music looks more at nature, the land and the world around us. Do you feel too many musicians too refined with their music and ignoring the simpler, tranquil side of life?

I think I do focus on love and heartache too but I draw relief from nature and the things I see around me, so in the end, I always end up cheering myself up.

I like people who are refined in that way - I think as a listener that I tend to seek out certain types of music that I can release to; so Jeff Buckley is great if I want to throw myself into feeling blue for a while.  

Do you set time aside to write or is it quite a spontaneous thing? How does the city/people around you feed into your  songwriting?

It’s quite spontaneous really. Sometimes, things play around in my head before I commit them to a song. Sometimes, I didn’t even realise the themes that were there until I do. People are always inspiring to me. I love that they are.

PHOTO CREDIT: Anne Campbell

You have an album out in late-October. What can you tell us about it and the sort of songs/themes that will be contained within?

All of the above. Some are about love and relationships, some are about the landscape and some came out of my head when I wasn’t expecting them. All have stories behind them and are part of the greater story. 

How has the songwriting process been for the album compared to your previous material? Any notable high/low points along the way?

Honestly, it’s been fun. They’ve been brewing for a while so it’s been quite easy. Collaborating has been fantastic too, I’ve enjoyed hearing the songs with all of the musicians on them and seeing the songs grow bigger than what I imagined.

Music is a very stressful and demanding thing. How do you unwind and given the attention heading your way; is it possible to detach from that spotlight?

It’s all good so far. The music itself, and the performing, are an absolute joy.

PHOTO CREDIT: Maria Aragon

Looking back at your career so far: which gigs or achievements have you been especially proud of?

The latest ones that I’ve done with the band have been achievements for me. The more that we play together the better it’s sounding. Having said that, performing at the Royal Albert Hall was amazing. Very intimate even though there was a big audience.

Aside from the album coming out: what does the rest of 2016 hold for you?

I’ll be supporting Bad Company in October in Cardiff, Leeds, Nottingham and Birmingham so I’m getting ready for that!

In terms of new musician or mainstream artists at the minute: who are you listening to and would recommend?

Peaches. As the years go by I like her more and more.

PHOTO CREDIT: Maria Aragon

Would you offer any advice to young musicians/bands coming through looking to make it big?

Keep going.

For being such a great sport you can select any song - not your own: I’ll pick one of those - and I’ll play it here.

Rag’n’Bone Man –Healed

[youtube https://www.youtube.com/watch?v=HvQYgNUZu98&w=560&h=315]

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Follow Jasmine Rodgers

 

PHOTO CREDIT: Anne Campbell

Official:

http://jasminerodgers.com/

Facebook:

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

Twitter:

https://twitter.com/JRodgersmusic

YouTube:

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

SoundCloud:

https://soundcloud.com/jasminerodgersmusic

FEATURE: Electric Vinyl: The First Steps

FEATURE:

 

Electric Vinyl:

 

 

 

The First Steps

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I have mooted the concept and idea of a new interview show…

called Electric Vinyl. In the original pitch - https://musicmusingsandsuch.wordpress.com/2016/08/26/feature-electric-vinyl/ - I introduced what the series would look like and the format it would take.

There are very few (if any) modern equivalents that bring together musicians and people who work in the industry: not as a promotional opportunity but the chance to discuss important issues and explain the music and artists that have inspired them.

The one-hour episodes/editions will unite two, perhaps disparate figures, who will be able to share tales, chat, and songs – against the backdrop of the ‘Electric Vinyl’ bar. Before it goes to Kickstarter level, and the pitch begins, I have been thinking about the first show: the camera/style employed; the locations that would best suit it – the two guests I hope will kick things off…

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FILMING EQUIPMENT:

The series will be shot in London and have a bar setting: either a real-life one or designed equivalent. Most of the filming will be fairly low-key and the guests will be sat down for the most part. That said; there will be some action shots and fast-paced craning and actions shots. Because of this, the cameras have to be right for the specifications and affordable too. Because budget will be a big issue (limited early on) the cameras will be fairly basic but able to a sense of modern cutting-edge style and clarity. I mentioned, jokingly but with some relevance, how Made in Chelsea is a reference point. That clean, filmic and modern look needs to come across but there needs to be fluidity and the opportunity for different styles – black-and-white in addition to colour shots. The cameras might need to be hired but up to the task – assembled are the three cameras (it will be a three-camera show) that I have in mind.

CAMERA: Sony HXR-MC2500E Camcorder-1080 pixels

WEBSITE/SPECIFICATIONS: http://www.sony.co.uk/pro/product/broadcast-products-camcorders-nxcam-avchd/hxr-mc2500/specifications/

CAMERA: Canon Legria HF G25 Wide Angle High Definition 3.5 inch Touchscreen LCD Camcorder

WEBSITE/SPECIFICATIONS: http://www.canon.co.uk/for_home/product_finder/camcorders/high_definition_hd/legria_hf_g25/

CAMERA: Action Camera, Waterproof Sports Camera Action Cam Gizcam GZ10

WEBSITE/SPECIFICATIONS: https://www.amazon.co.uk/Waterproof-Gizcam-Camcorder-Batteries-Accessories/dp/B01E6TSP7A

LOCATION:

Before coming to guests, the location is an important and vital consideration. It might be expensive to rent a studio or warehouse and design a set – making it look like a London cocktail bar. For authenticity, an actual bar is probably going to be the best way of going forward. I feel hiring/using an existing bar is the easiest route. Because the series has a cocktail bar theme – whilst being fairly trendy and Hoxton-esque – I have a particular set design in mind – the bar will be the backdrop and location rather than what the finished set will look like. I want to bring in my own seating and props in addition to extras. In terms of the location – useful to guests coming in and to get a feel of the look of the series – I have narrowed down to three possible destinations.

FIRST CHOICE: Nightjar

ADDRESS: 129 City Road, London, EC1V 1JB

WEBSITE: https://barnightjar.com/

SECOND CHOICE: Looking Glass Cocktail Club

ADDRESS: 49 Hackney Rd, London E2 7NX

WEBSITE: www.lookingglasslondon.co.uk

THIRD CHOICE: NOLA

ADDRESS: 1st Floor, 68 Rivington Street, London, EC2A 3AY

WEBSITE: http://nola-london.com/

GUESTS:

In the 10-part first series: I want to bring together a wide range of creatives and musicians together. In terms of episodes/editions 2-10, I am looking and bands, solo artists, and duos; D.J.s, music venue employees and website designers; club owners and P.R. people – ensuring every avenue and side of music is represented early on. On the first show, I want to bring together RKZ and Carly Wilford. Two people who work in different areas of the industry. RKZ is musician and poet and spokesperson for mental health charity CALM. Carly is a D.J., businesswoman, and creator of I Am Music and SISTER. I am not sure they have ever met (wouldn’t imagine they have) but would be a perfect pairing – and their choice of music will be fascinating. I have a short-list of other names; keen to have the two open proceedings and provide insight and window into their respective roles.

IN THIS PHOTO: RKZ

HEADER PHOTO CREDIT: Kabilan Raviraj-Photography

IN THIS PHOTO: Carly Wilford

I will launch the crowd-funding campaign in the coming weeks but am determined to get a general impression of popularity and potential. I have all the basics figured and know where I would like to film and the type of series it will be. In coming posts, I will be revealing different aspects and sides to the show: the set and design with a little bit on the title sequence and future guests. Keep a track of all the developments and…

WATCH this space.

TRACK REVIEW: Kamikaze Girls - Ladyfuzz

TRACK REVIEW:

 

Kamikaze Girls

  

Ladyfuzz

9.3/10

Ladyfuzz is available at:

https://www.youtube.com/watch?v=uFVg5Lr7Do0

RELEASED: 20^th August, 2016

GENRES: Riot Grrrl/Alternative

ORIGIN:

Leeds/London, U.K.

The E.P. Sad is available on 2^nd September via:

http://kamikazegirls.limitedrun.com/

TRACK LISTING:

Hexes 

Stitches 

I Hate Funerals

Ladyfuzz 

Black Coffee 

Tonic Youth  (Bonus Track)

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THERE are not many acts out there...

that are made quite like Kamikaze Girls. Before I come to the duo, I wanted to look at acts addressing deeper issues through their music; rare influences and pushing music forward; looking at musicians that seemed primed for the mainstream and how they have achieved it. The first point is one that I always look forward to raising. A lot of music is defined by selfishness, or in a less severe way, a fixation with love and relationships. This debate issue is a trope of mine (so I shall not bore you too much) but it is always pertinent. I suppose it is easy and personal talking about love and seems to be something we can all relate to. That need to be relatable and relevant is causing music to be a little homogsenised. Whilst sounds and genres and cross-pollinated: the lyrics are a little samey and tend to talk about the same thing in a number of different ways. Relationship splits are always sad but it is like the old adage: if you’ve heard one you’ve heard them all. For that reason, I am always willing to provide spotlight to musicians that move away from weary cliché and challenge something fresh and original. Kamikaze Girls address mental health and anxiety in their new E.P., Sad. It is a brave move creating music that not only moves away from common ground but addresses something hard-hitting, sensitive and stigamtised. The fact mental health is such a taboo topic (even in 2016) speaks volumes about society and an unwillingness to discuss something that affects most of us at some point. Away from charities and forums: how many musicians are using their songs to challenge and tackle the subject; go deeper and rebel against stuffy attitudes and ignorance? Music is a platform that reaches billions of people and it is a shame so many people squander their chances. It might be easier writing about love and personal woes but it is much more meaningful moving away from that and looking at issues like mental health.

If you open up about subjects like mental health it is not only a way to unburden yourself and be open with your audience but it will inspire others to follow suit and discuss their problems without fear of recrimination and judgement. Before I move on, and tie this in with my featured duo, let me introduce Kamikaze Girls to you:

Lucinda Livingstone – Guitar & Vocals

Connor Dawson - Drums

“What makes this pair tick? First and foremost, Kamikaze Girls want you to know that it’s okay to be sad. Since 2014 the Riot Grrrl duo, consisting of vocalist and guitarist Lucinda Livingstone and drummer Conor Dawson, have used music as a means to challenge attitudes and taboos surrounding mental health. Their aim has always been to show their strength and solidarity to other young people in the same position, through their vitriolic fuzz-rock and to work alongside other bands in the scene to help stamp out gender stereotypes in music for good. KG’s sound is an amalgamation of their own pop sensibilities and 90s Riot Grrrl, citing the likes of Bikini Kill, L7 and Sleater Kinney as their main inspiration. The band’s raw live shows have become synonymous with the DIY/punk scene and since the release of their first single - ‘Tonic Youth’ last year - they have played shows across mainland Europe, America and the UK with the likes of Muncie Girls, Pup, The Menzingers, Me Without You, Modern Baseball, Moose Blood, Lemuria, Petrol Girls, Personal Best, Great Cynics, The Winter Passing, Nai Harvest, The World Is A Beautiful Place… and Woahnows, to name just a few”.

Kamikaze Girls, and Lucinda Livingstone especially, used to feel uncertain and hesitant discussing her mental health issues and when she was surrounded by guys (in fuller band territory) it was hard to bring up the subject. Maybe it is sheer numbers of the all-male dynamic: perhaps not as supportive and understanding as female peers. It is only since she has got better and sought help that talking about mental health has become easier. Livingstone knows the D.I.Y./Punk scene is established to help those that go through mental health problems and is much more open and understanding than other areas of music. One of the reasons you go into such genres and scenes is because of the larger understanding and brother/sisterhood of the musicians. It is always wonderful hearing about musicians that have gone through bad times but feel more secure – healthy and happy enough to talk candidly. Livingstone feels touring is a great way of not only addressing mental health through music but finding comfort and support – the rush and rawness of playing to crowds is a natural and blood-rushing way of finding release and kinship. With crowds behind you and the euphoric feeling of the live arena: something that helps her feel less alone. Away from Kamikaze Girls, and there are a few bands and artists that are not only addressing mental health but political concerns and lesser-discussed subjects like transgenderism and racism. It is not good enough pretending these kinds of things don’t exist or assume they are resigned to the individual alone. Mental health is everyone’s concern and we will have exposure to it through varying degrees of separation. When musicians push away from convention and expectation and actually talk about something real; it is going to lead to evolution and more people feeling they are not on their own – their musical heroes actually understand what they are going through and they are cared about. Kamikaze Girls are going to inspire others to follow suit and have no doubt helped a lot of people in their lives.

Kamikaze Girls take in Bikini Kill, La Tigre and Riot Grrrl-influenced bands as guidance and heroes. It is unusual finding too many bands/duos that are inspired by the Riot Grrrl genre/movement. The movement began in the early-1990s and started in Washington State and the Pacific Northwest as a way of combining feminist consciousness and the style/politics of Punk. Even for Punk and Alternative bands, I feel there are too few that actually surprise you with their choice of influences. Perhaps The Ramones, Sex Pistols, and their contemporaries are obvious choices but those that have probably been done to death. Hearing Bikini Kill and Riot Grrrl-themed artists in the mix is always going to capture the imagination and soul. There are other bands that blend these styles/bands but few in the same way as Kamikaze Girls. Tie this together with subjects of fear, mental health problems and anxieties and you have a duo that has very few equals. One of the deepest and most conscientious acts playing in the U.K. – they deserve a lot of support and success going forward. Their stunning sounds and blend of Punk, Pop, and Alternative/D.I.Y. make them an intriguing and long-lasting prospect. They have not quite hit the mainstream radar yet but surely that is just around the corner. It will be exciting seeing how they grow and how their unique pairing of sounds and styles reflects with the mainstream critics. I mentioned how very few musicians actually mix things up with regards their lyrics and subjects: the same can be applied to compositions and genres. It is always quite shoulder-sagging hearing a new band tipped and hyped: when you discover they are pretty run-of-the-mill and average you wonder why they are so proclaimed and celebrated. Normally, these acts that are heralded, fit into a commercial mould and have that consumer appeal and profitable sound. It does not mean they are daring, original or fresh. Kamikaze Girls are a genuine duo that should be lauded and set aside as genuine innovators. Not only combining Punk and Pop of the ‘70s and ‘90s: they have a very modern aesthetic and sensibility that makes them a beguiling and fascinating act.

Before moving on to their past music and present endeavours: one is compelled to see how far they have come and why they are in the position they’re in. One of the reasons they have gained thousands of fans and struck a nerve is their stunning sound and relentless touring. Sad is their first full release but previous singles have been toured extensively around the world. Not just confined to the U.K., the duo has appeared in the U.S., Canada, and Europe – the two have given up viable careers for music and have put their all into their passion. It may seem like a risky venture but this complete focus and unyielding attention has seen crowds and fans flock to their shores. It is their live energy and interaction that has helped them gain a solid fanbase and they are one of the most scintillating and memorable live acts in the country. One of the most obvious and notable reasons behind their success and reputation is the blend of organisation/professionalism and strangeness. In terms of their careers and output: they have management and P.R. bodies behind them but take control of their social media and output. They are keen to speak with their fans and keep them updated. Photos, statues, and interviews are published: informative and of-the-minute news for those following Kamikaze Girls. Their official website is full and well-designed while their social media pages are packed with information, photos and wonderful insights. Too many musicians rock into music and do not provide attention to websites and their social media. They assume the music alone will take care of things and negate the importance of giving fans easy access to biography, photographs, and links for the group/act. If you have to struggle to find out about the artist then you are likely to become frustrated and bored. Those that take time to provide a full and varied portfolio are those that understand are going to succeed and last longer than those who don’t. Kamikaze Girls have some unusual but wonderful influences and it seems odd and unusual against the raft of predictable artists. The duo takes time with regards their music videos and ensur they are as vivid and memorable as possible. Cover art and designs are also eye-catching and this is the case for their E.P., Sad. The cover’s heroine (recognise the face but can’t think of a name) is beautiful and alluring but has a sense of enigma, sadness, and vulnerability – everything that goes into the E.P. itself.

The duo performs in Manchester on August 27^th (The Star & Garter) whilst heading to D.I.Y. Space for London on 23^rd September. Leeds and Portsmouth will be on the docket and chances for the E.P. to get to a wide crowd and span several counties. To be fair, the reaction to Sad will be huge and it is likely to bring plenty of new fans and followers to Kamikaze Girls. Sad is their first full work but follows on from singles likes Records & Coffee (released two years ago). Most of Sad’s material is in the ether and the duo shows how they have developed over the last couple of years. Their recent work is their most confident and compelling and shows how touring has sharpened and heightened their attack. Earlier work and initial singles showed what a talent and proposition they are but I feel they have improved and come along wonderfully since then. After touring abroad and various crowds: this exposure and performance experience has fed directly into their E.P.; know what the crowds react to and how they like their music. The subject matter is more personal and affecting and shows Kamikaze Girls are in a space they feel they can discuss their illnesses and addictions. Not really shying away or suppressing it: Sad is a catharsis and revelation that will give them confidence to address such topics in future work and inspire other acts to follow suit.

I wanted to focus on Ladyfuzz as it is their latest single and one of the most entrancing cuts from Sad. The song begins with a happiness-inducing and spirited introduction that brings together elements of Punk but has a semblance of The Strokes and The Libertines – two of the most influential bands of the past twenty years. It is the performance and composition that strikes me most about the song. It is one of the most determined, vitriolic and anguished deliveries of their career. Under the pain, weight and gravity of emotion: you can hear so much come from Livingstone’s voice. The song’s video looks at addiction and pill-swallowing. A cavalcade of medication, numbing and fear. Being left out in the “cold of night” and the rain: it might be a metaphor for depression and anxiety but there is such a vivid and physical aspect to the lines. Pills are being crushed and booze swallowed down: perhaps as a coping mechanism or a way to forget about life’s negativities. When the chorus comes in (you wonder what the song title refers to) the full force and anger come out – a blood-curdling scream that emphasises just what pains and agony is at heart. Maybe looking at the cycle of prescription medication and depression: the ways of getting through the day and having to bare the cross of depression - a song where every listener can come to their own conclusions. It is not a surprise that some of the lines get buried down under the ferocity and intensity which might see a few of the puzzle pieces missing. What you get from the song’s early stages is a young woman trying to make sense of things and get some sense of perspective. From the first half of the song, which looks at inner-pains and anxiety, the second half sees the vocal calm and mutate into wordlessness and refrain. The composition remains sparked and spiked but does start to come down in the final minute.

What one notices about the track is how primed and appropriate it is for the live crowds. Like a lot of Kamikaze Girls’ previous material (and that on Sad) the songs are perfect for mosh-pits or those who just want to lose themselves. Such energy, force, and rage come through but there are subtleties, genre-balance and plenty of sweetness to be found. The music is always complex and never as straightforward and basic as you’d imagine. Ladyfuzz’s video gives you a true sense of the song’s cycle and story. We see a vinyl spinning with medication on it: a bottle of Bombay Sapphire and fast-moving camera work and blur. It might be a metaphor for the haziness of life and that routine of medication, destruction and getting by. Kamikaze Girls address addictions and mental health in their music and you feel Ladyfuzz is the most rounded and truest sense of all their themes, concerns, and strands – distilled and mixed in an explosive and dynamic song that has Punk heart and a deep soul. You will want to hear it several times just to get to the root of it and let its primal abandon and savage moments hit you. As I said with regards their music: it has depths and multiple sides to it and you should never think you have it all figured out. The duo said they feel discouragement and abuse – Livingstone has faced Internet trolls before – and the way to react to that is impressive. Livingstone is a woman in a male-dominated industry and music is a way of showing how important her voice is and she should not be ignored. Ladyfuzz is not just a song that deals with harsh and personal insights but is a bold and defiant offering from a singer/guitarist who is one of the most exciting and impressive musicians out there. Together with Dawson’s incredible percussion and pummel; the duo should be watched very carefully. Not many artists touch on sensitive and harrowing sides but it has taken a while for that to be a reality for Kamikaze Girls. Ladyfuzz, as with the other songs on Sad, is their way of reaching out to people and showing how important it is to talk about issues like bullying, addiction, and depression: this will give other people (going through it) comfort and should motivate other musicians to suppress obvious inspirations for music and touch on something a lot more important and serious. We need pioneers and duos like Kamikaze Girls on the scene as they have the promise to affect real change.

It has been great discovering Kamikaze Girls and their world. Reading interviews they have done recently, you get a peek into two very special musicians that are very different from their contemporaries. Away from the shallow and faceless artists we all know and avoid: Kamikaze Girls are deep, meaningful and hugely impressive. They are brave enough to challenge convention and stigma and ensure their music addresses important subjects and breaks taboo. Mental health, addiction, and anxieties are not subjects we hear a lot in music – that should change and is not something we should hide. Seemingly clandestine and resigned to the shadows: Kamikaze Girls will give impetus and inspiration to other acts to talk about these things and feel less alone. If you listen to Sad and the songs throughout; you get a glimpse into the duo’s psyche and what they have faced. Livingstone especially has faced mental health problems and addiction: someone who is starting to recover and improve but still affected by depression and anxiety. The songs, as a result of this, bare scars and were hard exercises in self-acceptance and honesty. Hexes begins with clattering and eeriness. Like a nighttime stillness – where there are just odd noises in the air – it opens into explosive, bellicose territory. Yowling and elongating guitars and rampant percussions give the song a shot of danger and nervousness. Before long, a head-banging riff and huge energy come through and you are under the spell of the track. The riff reminds me of Nirvana’s Breed in the way it is so addictive and familiar yet you cannot help but throw your body in its way. Kamikaze Girls have taken influence from a range of sources but remain singular and personal throughout. The ‘90s Grunge sound comes through to look at psychosis, mental anguish, and torment. The heroine’s head is being messed with and she is unable to escape the dread and torture of her captor. Vocals slightly traumatised and fatigued: there is an anger and stiffness that suggests she has reached a plateau – no longer willing to cope with this miasma and fear. Whilst psychosis is asleep in bed: she is there pulling her eyelashes out; being kept awake by the demon of ill mental health. The song has a very raw and lo-fi sound and one that puts you into live territory – you can practically feel the moshing and smell of beer flying through the air. Combining rampant and avalanche percussion with heartbroken, animalistic and intense vocals and it is a song you cannot forget in a hurry.

Stitches and I Hate Funerals keep the momentum going. The former has a constant drive and purging energy that will make it a live favourite and get a great response at gigs. The duo is tight and assured throughout and whilst some of the lyrics do get buried by the composition – a little hard to decipher against the purity and intensity of the emotion – is a song more synonymous with feeling and attitude as opposed to what is being said. The sentiments and revelations of the song get into the head but it is the duo’s kinship, musicianship and vocal brilliance that make it what it is. I Hate Funerals lurches and stomps into view and has plenty of attitudes. Mantra-like and petulant to an extent; it is a slower-pitched song that whilst not funeral, has a certain weariness. The composition is among the most intense and fiery on the E.P., mind, whilst the vocal has a definite sense of aggravation and boredom. Once more, you feel the heroine is trying to crack a smile and not a fan of those around her. Maybe wanted to run away or get out of the situation: you try and envisage what is being sung and where we find herself. I Hate Funerals has that lo-fi quality which does make intelligibility a bit of a concern, but once again, you are hooked into the song and affected by the mood, performances, and rawness that emerges. Black Coffee is one of the clearer and less heavy-surging songs and has a mix of Pop and Punk sensibility. More melodic and restrained than previous numbers: it has a certain catchiness and accessibility to it. The duo shows their flexibility and variation; able to switch between genres, sounds, and ideas. Here, our heroine is being kept awake by addiction:  “I found the cure for these aching bones / I’ll breathe you when I just can’t hold it up”. You can visualise the drugs and drink; the need to escape a depression and numb that pain. Unable to get to sleep and shackled by a harsh addiction: it is one of the most heartbreaking and soul-baring songs on the E.P. It is possible those past days are gone for good but they still burn and ache badly. The vocal has a definite helplessness and anguish that seems in need of balm and comfort. Tonic Youth is a B-side and bonus track that finds the heroine feeling alive and up: maybe a side-effect of youth or a drunken haze. It is a song that deals with contradictions as you have that vivaciousness and sensation of energy but self-destruction and illness. Stomach and headaches are keeping her inside (when she wants to be out) and again, you start to speculate what is causing this pain.

Sad is an E.P. as complex and simple as its title. On face value, there are a lot of harsh emotions and depression unearthed and evaluated. It is the abiding take-away from the lyrics and does look at anxieties and mental health. Sad is more complicated and investigates addictions and subjects many musicians do not touch. That title might be a dig at people who underestimate and simplify depression as just being ‘sad’. The music shows just how wrong they are: it is a minefield and deeply personal thing and should not be undervalued and overlooked. The music and sound Kamikaze Girls is among the most bracing and electric you’ll find in modern music. The Leeds/London duo have a very clear bond and the songs are incredibly tight, nuanced and will go down terrifically with the live audiences. Some of the lines get mixed down too much or a bit hard to understand but overall you hear what you need to – Livingstone’s voice is consistently exciting, raw and emotional and makes sure the music connects and gets straight into the head. Riffs and electric lines that are gritty, catchy and dirty: adding atmosphere, contours, and vivacity to the music. Connor Dawson ensures the percussive backbone is strong and granite-like. You are always at his mercy and he is not a mere backing player. Always intensely focused and skillful: so many different sides to his armoury and wonderful moments.  Sad is not just an E.P. for fans of Kamikaze but those going through the same experiences as the group. Both suffering ill mental health and struggling issues like addiction: it is a personal and hard E.P. that shows bravery in spades. Unlike the tough subjects and tense emotions it explore: with regards to Sad, you will…

NOT be afraid to embrace it.

[youtube https://www.youtube.com/watch?v=uFVg5Lr7Do0&w=560&h=315]

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Follow Kamikaze Girls

 

Official:

http://kamikazegirls.limitedrun.com/

Facebook:

https://www.facebook.com/kamikazegirlsuk

Twitter:

https://twitter.com/kamikazegirls_

Instagram:

https://www.instagram.com/kamikazegirls_/

SoundCloud:

https://soundcloud.com/kamikazegirls

FEATURE: The British Music Venue: The fabric of Society

FEATURE:

The British Music Venue:

  

 The fabric of Society

____________________

IN a digital age where music is commonly available through a variety of…

PHOTO COURTESY OF NICK ENSING

platforms and sites: what places for the physical side of music? Vinyl is seeing a revival but in an ironic sense. Most people I know (who buy vinyl) never play them and keep them as memorabilia and artwork – how many D.J.s still use vinyl as part of their sets today? I am buoyed to learn C.D.s are starting to gain a foothold against the digital download market. It is a shame to think we are losing what music is all about: something physical, tangible and real. Given the change in the method we buy music, something troubling is happening in our high streets. At the beginning of this year, an Independent article revealed 27 U.K. pubs are closing each week. Alongside our bars, there is a similarly alarming thing happening with music bars and clubs. Is this a sign of things to come and what can we do?

_____________________

 “I am committed to using the influence of my office to overcome the numerous challenges facing the night time economy. However, it is important to note that City Hall does not have the power to intervene in licensing cases like the current situation with Fabric.”

The following was a statement by Mayor of London Sadiq Khan following the closure of the nightclub fabric. At present, at the time of this feature, the petition to save fabric had reached 94,609 supporters – 55,391 more signatories needed so the issue can be debated in parliament. You can put your name to the petition here. It is worrying to see an icon and institution of the London club scene threatened and targeted: not only denying loyal patrons and new faces the chance to revel in its environment but jeopardise the economy of the local area. It is unsurprising the club drew criticism following drug-related deaths at the venue in recent months. Mayor Khan went on to say:

“My team have spoken to all involved in the current situation and I am urging them to find a common sense solution that ensures the club remains open while protecting the safety of those who want to enjoy London’s clubbing scene”.

As part of his plan for the capital: Mayor Khan plays on appointing a ‘Night Czar’ who would be a champion and voice responsible for not only promoting the wonderful nightclub and music scene in London – helping to preserve clubs whose safety and existence is in danger. In response to the incidents at the club; a spokesperson from fabric explained in a statement:

"The safety of all our customers has always been at the core of what we do, so right now we’re working with the relevant authorities and looking at everything we can to make sure that we can continue to operate after the 6th September”.

Farringdon itself (where fabric is located) is one of the most varied and popular areas for nightlife in the capital. Wine bar Vinoteca reappraises the stuffy image we all have and offers the customer over 275 different wines at very affordable prices. Pubs such as The Jerusalem Tavern and Café Kick are just the tip of the iceberg. Fabric hardly sits outside the sphere; conversely, it is at the beating heart; part of the tapestry of Farringdon and London. It is always tragic and regrettable when you see drug-related deaths or similar incidents at any club or pub. Whilst part of modern life (unfortunately) there has to be awareness raised and repercussions. It seems like fabric has been a sacrificial lamb: not given a fighting chance and tarred with a bad reputation. If you look on search engines and type in the words ‘Incidents at fabric nightclub’ the results returned pertain to the two deaths there. It is not like the club is a problem child who has not rehabilitated and is a constant burden of the community. I have heard of pubs near me who have seen drug-related deaths and continue to trade – a fine might be levied or a stern slap on the wrist. If there were a fire or safety breach at the club then a temporary closure would be appropriate – to ensure they get their act together and comply with legislation.

PHOTO COURTESY OF NICK ENSING

Unless you frisk everyone who goes through the door and watch them with eagle eyes: how are you going to prevent this sort of thing?

The deaths that occurred are apparitions and are not the norm. of the club and London night scene.

The government is becoming a middle-aged, finger-wagging parent who sees a couple of bad boys throwing punches in the street and decides (their son/daughter) is so precious and fragile they should not be left outside. What does it say, in 2016, when fabric’s closure is seen as acceptable and justified? The club did not allow a mass fight to erupt and it is not violating noise abatement protocols (or polluting Farringdon). It is an established and legendary spot that has seen musicians, D.J.s and public figures come out in force to save its doors – making sure it is not closed for good.

An article on the BBC last year highlighted how 40% of London’s small venues have closed in the year (prior to that report). It is startling to think this is a sign of things to come but is not a London-centric issue. Nottingham student favourite The Forum is to close according to the Nottingham Post. How harrowing it is to find so many venues going out of business by the week. The small clubs and music venues are a vital part of the British economy and responsible for £3.5 billion in revenue. A recent article in The Independent cut to the core of the debate:

“It isn’t just about the artists, either. These venues provide jobs for hundreds of thousands of people, from bar staff to promoters and technicians. To snatch away the livelihoods of so many for the benefit of some bourgeois group of property developers is a disgrace at a time when unemployment and poverty levels are so high. In fact, spaces for live music and culture can be great community adhesives in times of socioeconomic hardship”.

The only way for musicians and new artists to get their work heard is for these venues and clubs to continue. If we lose our club culture and small venues then we threaten the security and liberty of the music industry. Can you picture a scenario where bands and acts are forced to premiere their wares via YouTube or town halls? The large arenas and venues continue to thrive but the smaller localities are looking over their shoulders. They are the staple of the music industry and the platform on which the hottest and hungriest musicians enthrall crowds and lay down their gauntlets. The legendary, unforgettable gig is a shared experience and right-of-passage. A new generation faces approaching adolescence without access to these venues. What of their future?

Large parts of London are becoming gentrified which is part of the problems. In tandem to the public need for cleaner, brighter and more refined surroundings: the small music venues and clubs do not fit with the facelift and want to remain authentic and pure. If you start putting wine bars and coffee shops into the entrance to fabric, then what the hell will music become? Perhaps there are sectors of London who want to turn everything middle-class and trendy but there is a fervent and loyal group of music-lovers who share no such view. If we overhaul venues in order to appease the gentrification crowds and, not offend the eye, then we are denying music-goers the fundamental right to live music and freedom. There are plenty of bars and venues who experience fights and aggravation on a nightly basis: why are they not open to criticism, reprimand, and controversy? Fabric is a sacrificial lamb that has not caused any major sin or crime. As I said earlier: this is not a London problem and is happening all around the country.

Living in an area with easy access and proximity to venues like Boileroom (Guildford) and Green Door Store (Brighton): I can see what great work they do and how important they are to the local communities. It is not just live music that brings people through the doors. Small music venues and clubs work to engage the community and public and are often multi-denominational and multi-tier. Norfolk’s The Owl Sanctuary ran the Norwich Soup Movement – a D.I.Y., not-for-profit incentive that provided food and shelter for the city’s homeless. A lot of ignorant people assume music venues are about trouble, drugs, and loud music: they cause trouble and offend the ear; no conscience or maturity. The truth couldn’t be further from that assumption. Most small venues and clubs run programmes and incentives for charity and underprivileged sectors. These places engage with charities and the lesser-off and have a deep-rooted sense of mortality and activism – helping multiple sectors through the pulpit and universality of music. Deny the public of these places – this is starting to sound like Charlie Chaplin’s famous speech from The Great Dictator – and you threaten the very fabric of our society – an apt choice of words given the fate of London’s current whipping boy. Politicians and authority figures are not the ones who rely on these places and understand the wider implications. They sit in their offices and three-piece suits and are ignorant and clueless with regards these places – I doubt they have even been within 500 feet of any of them. If you are never more than 6ft from a rat (not sure if that is an urban legend) then you know a politician is more than 500 feet from a small music venue. They are so closed-off from the public and real life and this has to stop.

PHOTO COURTESY OF DANNY SEATON

It may sound like I am having a rant but my views and substantiated and supported by the majority. Every county of the U.K. is fearful and there are no guarantees in the modern climate. When you close a club or music venue you do not just create cultural and social dents – the economic ramifications are significant. Clubs employ a lot of people and the trickle-down effects of their unemployment cannot be underestimated. Shine the spotlight out at a 90-degree angle and what of the musician who relies on these venues as their bread and butter? You rob them of a live setting and you threaten their very existence.

Take it out another 90 degrees and the state of modern music will be harshly affected. In the same way as the death of cassette and vinyl is a product of the modern age: is the dying away of the small clubs and music venues a natural evolution and after-effect?

We cannot sit by idly and allow this to happen: will we ever see fabric’s doors reopen and stay open? Make sure you sign the petition and ensure it is not another casualty of the overly-protective and hysterical nature of British politics. Mayor Khan is someone who understands the importance of the London music scene and nightlife but you feel there is a certain sense of inevitability and helplessness. Our nation is synonymous with its wonderful, rich and indefatigable music scene. Music brings people together and bonds communities: this is exemplified and evident in our clubs and minor venues. Without these stalwarts and bastions of live music then future stars and mainstream acts will take years to hit their strides. Artists like Foals, Wolf Alice and Coldplay (a trio among thousands) who began their careers playing the charming and wonderful clubs around the country – many of whom have closed since. We need to act and ensure our wonderful music scene...

PHOTO COURTESY OF GOOGLE STREET VIEW

IS not threatened and damaged forever…

TRACK REVIEW: CASSI (ft. Luna Ward) - That High

TRACK REVIEW:

 

CASSI (ft. Luna Ward)

  

That High

 

9.5/10

That High is available at:

https://www.youtube.com/watch?v=Pi8P34IRBQQ&feature=share

RELEASE DATE:

29^th August, 2016

GENRE:

Drum and Bass

ORIGIN:

Surrey, U.K.

____________________

EVERY time a new musician or artist comes my way it...

provides an opportunity to look at new genres and considerations. Such is the case today with my featured artist - but before I come to her - I wanted to look at Drum and Bass (the genre CASSI plays in); young, upcoming artists/producers and the true power of music and creativity. I feel, when we hear the words ‘Drum’ and ‘Bass’, a certain misconception come crop up. We all, not me though, feel a certain heaviness and lack of tactility to the music – compositions and vocals that suffer a surfeit of necessary restraint and are primarily geared to the late-night club revelers. Whilst Drum and Bass does have that tribal power and is intended to unify the dance-floor revelers: it is a more sophisticated and multi-layered genre and is as accessible and variegated as any other you care to mention. Having grown up lionising the Dance music of the late-‘80s and early-‘90s – where Snap! and Culture Beat were considered quite hip – I have seen it mutate, evolve and mature in a way I couldn’t have predicted back then. Perhaps the '90s Dance/Trance music was a bit more esteemed and long-lasting than a lot of contemporary equivalencies: that is not to say some future-classic artists are not playing in our midst. Drum and Bass has the unerring power to get the listener hooked, baited and entranced in a world of fantastical beats, stridulating electronics and a psychotropic mood – far too heady for the senses to resist. One of the reasons (among many) I open my mind to music’s power is just what we choose to ignore – like a child turning their nose up at food they’ve never tried. You cannot approach a genre and think you have it figured out. If you have heard a rather savage and violent song: that does not represent and embody the true sound of Drum and Bass. The same goes for the likes of Metal, Country, and Soul – there is no such thing as a ‘typical sound’. What Drum and Bass provides, that is not as immediately true of other sounds, is how developed and complicated it is. We all assume, because it's technology-based and digitally-formed, it is a case of pressing a few buttons and twiddling faders – something of that sort anyway. An awful lot of care, thought and consideration go into the genre: it is reserved for those with true passion, expertise, and patience. It would be all-too-easy to fuse together some vaguely pleasing strands and think the club-dwelling public will lap it up – those with a lack of discernment might. The same with regards any style of music: you rush into it and you can create something messy, hurried and wanton.

2015 Drum and Bass classics like Diversified (Tantrum Desire), Next Generation’s Bensley and City of Gold by The Prototypes have been lauded and cannonised by the likes of Drum and Bass HQ. A cursory exploration of those albums shows you just how much emotion, skill, and talent is required. A lot of the time – but not always – the music has to rely on composition alone: modern-day Classical arias that have to win the crowd without a single word sung. My general point is that there are too many stuffy-nose-turners that balk at Drum and Bass because they have clichéd definitions – without investigating it sufficiently. Still regarded as a niche genre and something largely confined to clubs and bars: it will not be long until it receives greater representation in the mainstream. We are seeing acts like Sigma, Noisia and Chase & Status well-regarded and received by many of the mainstream’s best stations and publications. In terms of the new crop coming through: there is much promise and fascination on display. CASSI is the moniker of Surrey-based producer Louise Vineeta. That High is the debut offering from CASSI and shows what a force she is: just how prosperous the future will be. It is hard to truly predict an artist’s trajectory from a single cut but the signs are all very positive – a young talent who is highly capable of making waves in the mainstream (in years to come). Before I continue to another point; let me fully introduce CASSI to you (in her own words):

CASSI is a thought-provoking and assured producer/artist who is proving why we should not be so beholden to chart-approved music. As I stated a little while back: write-off or overlook Drum and Bass and you are liable to miss out on so much. Away from the tribalism; overly-hedonistic producers that can come off one-minded: CASSI is an example of someone who can create accessibility and intelligent music whilst remaining true to the demands of the Drum and Bass aficionados. That is no mean feat and not something that has arrived through serendipity and dumb luck. Upcoming Drum and Bass/Dance producers Mania and Next State are contemporaries of CASSI: similarly ambitious and assured producers who are, in their own campaigns and ways, likely to put their stamp on music down the line. Drum and Bass, like other genres, is not confined to the cities: it has popularity and patrons around the world and is one of the most amendable, transportable and wide-ranging forms of music in the world. CASSI is based in Surrey and is in the heart of a busy and vibrant music community. In a town (Guildford) that houses A.C.M. (The Academy of Contemporary Music) Boileroom and G. Live: it is not a shock that the conviviality, creativity, and variegation of Surrey (Guildford especially) has affected CASSI. With music become more expensive and less attainable for bright-eyed hopefuls: more and more producers and artists are turning to bedroom-made, D.I.Y. sounds. You do not need a lavish studio and exclusive technology to create music of the highest order – the spark of inspiration, discipline and passion are the most important tools (and free from charge). So much attention is paid to mainstream bands and critical favourites: those acts that preen and pout from magazine spreads with needless hubris and self-assurance. Producers like CASSI are true artists that do not seek glamour, column inches or the nods of record executives – she is someone who burns with the desire to create fine music and get her passion onto the page. Vibing and conspiring with the creative community and peers: it has provided a basis for CASSI and her debut, That High. Knowing her, and the work that went into the song, it is a singular triumph from a producer who has consecrated so much time and energy to music – ensuring it as good as it can be before dissemination to public ears. That quality control and patience has paid dividends and ensured That High is a banger: a song that is sure to find affection and support beyond the realms of social media and music-sharing platforms.

Knowing CASSI’s creative process and what songs might be released in the future: it got me thinking about inspirations behind music. Drums and Bass, again there is a stereotype, is not just concerned with excess, sweat, and libidinous, prurient obsessions. Even the compositions, as hard-edged and pulsating as they are, are a lot more nuanced and deep than that – never simple-minded and basic. That High is a mantra-like, head-swimming song whose chorus line builds a number of possibilities and origins – a simple paen to a lover or feeling of something else. Unlike other genres: Drum and Bass artists address deeper concerns and societal problems. I have seen artists (in Drum and Bass) document class imbalance, urban squalor and political tyranny – the stress and disenfranchisement that the young feel today. Expand that out, and everything from mental health struggles and tragedy has been represented through the lens of Drum and Bass. If one educates oneself more about genres like this: you find it is much more complicated and perspicacious than is perceived. CASSI is a producer who will go on to prove that point and use her platform as a chance to address issues away from love and euphoria: common themes that many of her peers document. That High is her debut song and an accessible and anthemic slice that announces a special talent – one who intends on making music for a long time to come.

It is at this point of a review I usually compare an artist’s previous work with current: charting their evolution and deciphering whether any changes have occurred. Of course, this being CASSI’s opening salvo; it makes that a little harder. What I can say and do know – without giving anything away – is that more music will come and is likely to be met with acclaim and huge affection. Few artists and producers charge out the gate as hot and assured – even those in Drum and Bass. I have reviewed a lot of debut-era acts that are kitten-like and anxious on their first track. Some impress and create a sense of personality: it can be tough deciding which artists will make it and which won’t. Luckily, it seems CASSI is fully ready for the demands of music and ensures her debut track is instant and addictive. It will be interesting to see what the next few months hold in store and how she develops. I know CASSI is releasing an E.P. soon that is going to contain another version of That High - other snapshots into her creative mind. Momentum, impression, and intention have been laid down, and with it, an insight into a fresh and hungry producer who can add her unique voice and artistry into the Drum and Bass oeuvre.

Ghostly, balletic high-noted electronics open That High up. Part-cosmic, part-mystical: it is an eerie and earth-orbiting sound that prepares the listener and builds fascination right away. Oddly, there is something romantic and seductive to be found in the opening seconds. Rather than rushing in hard or needlessly build up: That High has instant effectiveness but does so with subtlety and the things it does not say – allowing the listener to come to their own impressions and look between the notes. Befitting of a film score: one that could open a tense and nervy flick: there is a certain sense of danger and rush that is lingering. You sense something big is about to happen and the tension and sweat is almost palpable. As I say: there is a counterbalance of affection and gentility in the opening passage; ensuring it is hard to second-guess and come to easy predictions. By the 10-second mark, a far-off, spectral vocal floats and echoes in the background. “That high” is delivered almost as a coda or truth: it does not need any fleshing-out and seems to be a complete thought; a truth that is yet to be revealed. Any thoughts That High would remain calming and relaxed is erased within a few seconds. Warping, growling electronics add darkness, shade, and teeth to the song: it is not too vicious but a definite authority and jeopardy is introduced. The beats get harder and demonic – like a bad vision that keeps coming to the mind – but when joined with the vocal the song takes on a new light. Rather than being hardened and attacking (that remains) but a sensuality, heat, and sexiness comes out. Given the song’s title and the possibilities of the words: your perspectives change to ideas of romance, coming-together, and a certain recklessness. Whether a free-from-shackles celebration or declaration of a pure love: with every mounting projection (of the words “That high”) the song grows fuller and more meaningful. Few producers or artists are able to repeat and reintroduce a vocal line or chorus whilst keeping it engaging, fresh and unpredictable. Part of your mind is fixed on the composition which creates its own gravity and colours; the other looks at the vocal which is lost in a state of delirium and trance. Coming together; the overall effect is quite something.

Organically and freely, That High starts to accelerate and smooth out. The foreboding and dark-hewn electronics subside and the beats start to race and trot; the vocal comes fully into the light and it is almost like waking from a dream – or perhaps a nightmare, depending on your take. “It’s all about that high” is a line that, one would imagine, has quite obvious and carnal origins. Provided what has come before and the inscrutable nature of the song so far – you do wonder if it is obvious as that. Of course, CASSI knows the true inspiration behind the lyrics but one still suspects that a) something positive and affirmative is being exposed and b) it is either based in the heart or the club – submitting to the serotonin-release bliss of the music or the knee-bucking touch of a lover. Whichever camp your mind is in so far: it does not quite prepare you for the unleash and release that is to follow. Just after the one-minute mark, once again, That High starts to shift up another gear and accelerate. Ward’s vocal remains concentrated and focused on that single thought – you wonder who/what is being sung about and imagine all sorts of possibilities and variations. In my mind, however near the mark it might be, I was looking at two sweethearts/friends in the club and bonded by the music. Surrounded by others yet joined in one another’s arms: something free and liberating. With that being considered, there is the suspicion something deeper and purer is being described. It might be cheating, but CASSI herself states it is (the inspiration) the pure pleasure and nourishment of music that is in her mind – the listener is free to decide upon their own interpretation. That reflection and revelation become clearer as the song progresses and the composition-vocal combination more spiraled and tangled. The vocal is peppering, stuttered and intoxicating; the composition introduces every proceeding variation into a dizzying whole. Rather than focusing purely on a physical unity or a club-set throng: it becomes less physical and more spiritual.  That High works because of the mix of simplicity and complexity. The lyrics are simple and centered around that gravity: the power and vitality music provides; the undeniable high and satisfaction it gives the soul. Most singers might look at the page and not be able to eek necessary nuance, range, and emotion from those words. Credit to Ward (and CASSI’s production notes) that the vocal finds new space and possibilities; brings new life and spirit from the words. Ward’s vocals are never too intense or insincere: able to perfectly deliver that message of devotion and affirmation whilst projecting ample sexiness, rawness, and soul. CASSI does not needlessly distill or process the vocal and keeps it natural and unblemished: simply tweaking and repeating it; creating a rollercoaster (sure there is a better word) of emotions – perhaps embodying the unpredictability of music’s essence and how it affects different parts of the body. Not content to simply ride it out to the finish: CASSI ensures fascination and attention is held to the very end. Rather than fading down or keeping the same pace: That High starts to calm and restrain. That is perhaps indicative or a lack of energy – music has had that very physical effect – but you sense the pull and allure of music have completely ravaged and obsessed the heart and soul – this is the result of it.

That High is not simply about the pure joy of music but the release and freedom music-making have provided CASSI. She has faced trials and stresses and had some uncertain times in life – music has been a way to help channel fears into something positive and productive. Often, we can get buried under life’s strains and demands: never quite know how to cope and portion the burden out without harming ourselves. Music is a forum that anyone can turn to and asks for nothing but dedication in return. The possibilities, avenues and potential one can get from music is limitless – that determination to exploit every nook and hook is infectious and all-consuming. That High also looks at life’s highs and the satisfaction and safety from a true love and solid friendships. Knowing the people around CASSI – her boyfriend Mania is a D.J. and producer; Next State is a close friend – that can help make life a lot more positive and easy. All of these thanks, considerations and positives go into That High - that will connect and be understood by the listener. Few producers or artists concentrate on pleasures and the positivity of music/life. A lot of songs/artists focus on relationship perils and break-up; self-negativity and something quite angry - it is unusual discovering someone who wants to embrace and pay tribute to the powers and spiritual nature of music, life and love. Future CASSI work is likely to mix in some negative and darker elements in but that is natural for all artists. By starting out upbeat, positive and uplifted: That High is a song that wins you over on many fronts – not least the important and relevance the lyrics have on its author. A stunning and compelling song from a producer who has plenty of inspiration and stories: she has come into the music with a huge and strong statement that will win many fans.

I, for one, have never been too sure just which artists will emerge victorious and prominent from this year. It may say strange for a journalist to confess such a thing but it is understandable. We are exposed to so much music and that is a good thing. It is always brilliant having easy access to all kind of bands, sounds, and genres. The issue arises when trying to make predictions about the future. You might discover an artist that seems like they have the tools to succeed and the energy to keep pressing on – before long they have fallen or fatigued. Perhaps it is the demands of music or false promise: either way, it is a tricky thing predicting longevity and those who will reign in years to come. On the other hand, there are enough musicians and artists you just know who have the legs, talent, and originality to take it all the way. CASSI is a brand-new name to music and ensuring the Drum and Bass world – beyond the local borders – knows about it. Of course, we can race ahead and make proclamations but she will want to stay focused and grounded. It is all-too-easy promulgating an artist and putting a burden of expectation on their shoulder. CASSI has proven on That High she is a producer and artist to be taken seriously - she is fully committed to music. It is rare, although maybe not in the underground, to see a female Drum and Bass producer emerge. It may be a sign of imbalance or not enough ready exposure: many still see certain types of music as gender-exclusive. There is little ostracism or prejudice in Drum and Bass but we often associate the genre with men. That is an attitude and perception that should and needs to be changed. When you look at the end-of-year lists from Drum and Bass magazines and sites: a lot of their top-10s or whatever (seem) to be male-dominated. Perhaps it is just a quality decision but one feels like the women of Drum and Bass are not being represented as fervently as they should. It is foolhardy pointing fingers or creating accusations but a sense of familiarity and laziness has crept in. One feels the likes of CASSI will not only bring about reappropriation and discussion but help to promote the fantastic female producers that help make the genre as strong, varied and exceptional as it is.

That High is a song that can convert undecided voters and fence-dwellers who would otherwise skim the surface of Drum and Bass without dipping their toes in. I know there is still a lot of work to be done ensuring the genre is on a level plain with Pop and Rock for instance. That rebalance does not occur overnight but I am starting to see positive changes and reapportionment occurring. Away from mainstream stars like Chase & Status, there is a vanguard of nimble and exceptional producers that are gathering acclaim and praise. The sun is out and it is hot out: there is a time and place for the gentler side of music but one yearns for something that reflects the season. The summer is not through, so woe betide anyone who speaks idly of autumn and shorter days. We used to go to Rock musicians for excitement and those scintillating jams. I feel the tide has shifted and too many bands are becoming sanitised and tame. Step forward those who understand how important forceful, body-moving music is – an elemental and primeval desire that has been coded into D.N.A. since the dawning of time. Artists, producers, and musicians that are capable of creating bangers and jams – songs that unify crowds and eradicate bad moods – should be applauded. That High is a tsunami of joy that is fully able to get the clubs bouncing and sweating but that would be doing the song a disservice. It goes back to my early point of easy labeling in Drum and Bass. The finest and most promising producers expend time and huge energy ensuring their songs are appropriately nuanced and deep – not just one-dimensional songs that are easily disposable. My early points looked at young producers and how Drum and Bass is not centralised to the cities – it is inherent in any town or place that has a nightclub; throughout bars and venues across the land. Given the popularity and necessity to embrace a more cost-effective form of recording: we are going to see genres like Drum and Bass rise in popularity. CASSI has spent a long time working on her debut song and you can hear that dedication and tireless pursuit come out in every note. A head-rush that gets into the brain and rearranges the senses – the body and limbs unable to resist movement; the voice ringing and singing along to the song’s chorus. Kudos must go to Luna Ward who brings gravel, guts and power to That High. At times spectral and distant; at others up-front and intense: a passionate and perfect performance that brings every possible emotion and shade from the lyrics and composition. Let’s hope CASSI and Ward collaborates in future as it seems like a very natural and promising partnership. I will end by looking at CASSI’s future and how she will slot into the market.

It has been wonderful not only hearing an incredible debut song but learning more about Drum and Bass – a genre I have not spend a lot of time around. CASSI resides in Surrey and has a prestigious and impressive musical network around her - about to enter A.C.M. very soon. She has the support and backing of friends, peers, and musicians but That High is a singular vision and unique perspective from a producer we should follow closely. There are few things harder and more nerve-wracking than taking your first steps into music and finding your feet – it can be an excruciating experience that has seen many quit. CASSI has that inborn love of music and it will not be too long before we get to see her debut E.P. - that will be exciting to see. Free from nerves, weak moments or any loose ends: That High has been leant a lot of consideration and focus: the results are obvious and immediate. Ensure you take time out to listen to CASSI and see just where she is heading. On the evidence of debut track That High shows: she has…

PLENTY more to say.

[youtube https://www.youtube.com/watch?v=Pi8P34IRBQQ&w=560&h=315]

__________________________

Follow CASSI

 

Facebook:

https://www.facebook.com/cassiofficial/?__mref=message_bubble

Instagram:

https://www.instagram.com/cassi.official/?hl=en

SoundCloud:

https://soundcloud.com/user-188189449

YouTube:

https://www.youtube.com/channel/UCNeAvsX4c_nhIM0314JZuPg

INTERVIEW: Katie Buxton

INTERVIEW:

 

PHOTO CREDIT: Sam Polonsky

 Katie Buxton 

____________________________

A few days ago, Nashville-based Indie-Folk artist Katie Buxton…

PHOTO CREDIT: Liz Burley

released the video for her latest track, You Flew. The song’s gorgeous vocals and heartbreaking lyrics make it one of her very finest tracks. Written on a snowy January day in Nashville: a wonderful, hugely evocative song that takes you away with it. I have been a fan of Buxton for a little while and am excited to see just how far she can go. Eager to find out whether she has future plans (for new music) and how Nashville is treating her: I caught up to discuss her childhood influences and whether we can expect her in the U.K. any time soon.

________________________________

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

Hey! I’m doing great. my week has been crazy but the good kind.

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

Of course! I’m a twenty-year-old Indie-Folk singer/songwriter living in Tennessee. My songs are pretty mellow with intentional and reflective lyrics - everything I write has some sort of conscious intention behind it.

 

PHOTO CREDIT: Linda James Parrott

You are based out of Nashville. What prompted the move from Philadelphia to Nashville?

I moved to Nashville a little over two years ago to start college there. I study songwriting at Belmont University, and when I was looking at different universities to apply to, Belmont was one of only a few in the States that had a commercial songwriting program. I also had been to Nashville a few times before and loved the laid-back but lively feel of the city, and just how central music is there.

In terms of comparative music scenes: are there more opportunities and a richer music culture in Nashville?

I’d say definitely - the really cool thing about Nashville is that everyone assumes it’s mostly Country when in reality there is a little bit of everything. There’s a huge Indie scene, as well as Pop, Rock, and even Reggae.

Since the town is made up of mostly people working in the music industry, it’s so much easier to make connections here than it is almost anywhere else - especially since most are pretty open to helping up and coming musicians.

Your first songwriting experience was at the age of 12. Did you grow up in a musical household and when was the moment you realised you wanted to become a musician?

The funny thing about my background is that the only person I shared a household with growing up was my mother and she’s absolutely tone deaf (sorry mom)! Besides an uncle who plays guitar, the rest of my family has never been musical; I grew up in a school that placed a lot of importance on their music classes and training us vocally from the time we were four-years-old. I think that was a huge part of it. I’ve sort of always known that music is meant to be a part of my life, but I never knew in what capacity until around a year ago when I had a pretty sudden and intense realisation that being an artist is something I want more than I’ve ever wanted anything.

 [soundcloud url="https://api.soundcloud.com/tracks/252520386" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Who were the artists and bands you fell in love with as a child?

Oh man! This is going to be embarrassing. When I was super-young I was really into Play, Hilary Duff, Aly &AJ; Evanescence, artists like that. Aly & AJ were actually the reason I started playing guitar! It’s so funny to me. As I got a little older I went to my first concert when I was nine, which was the Country duo Big & Rich (I know...I know). It was so random and unexpected but for some reason, I just loved them from that moment on, probably for way too long.

What was it like being selected as a finalist for the 2016 American Songwriting Awards? What was the inspiration behind Painted Hearts (the song that got you there)?

The funny part about this was I didn’t even realise I had submitted a song to be considered until I was told I was a finalist. I just had totally forgotten but it was an awesome surprise!

The song I submitted, Painted Hearts, is written from the perspective of a Native American chief. A few years ago I was attending a summer music program in Boston, Massachusetts when I heard a Native American chant performed live. I’ve always had a really deep and unexplainable connection to the culture, so it immediately resonated with me (and just stuck with me).

About a year-and-a-half later I was sitting in my room and for whatever reason, that chant was just playing over and over in my head when I thought: “what if I write a song around this chant?” I think the whole song came out in ten minutes. It felt effortless and like it came from a very special and sacred place. It’s a really important song for me and has opened so many doors.

 

Your debut E.P. From Songbirds was released in March.  What has the reaction been like from critics and social media? What sort of events and experiences defined the E.P. for you?

Since releasing From Songbirds, the response I’ve gotten has been really encouraging and heartfelt. To hear from people that my E.P. is what’s playing when they turn on their car is the most special thing. When I was putting those songs together I wanted to focus on creating a project that had a purpose, songs that were reflective and would bring light to others. Each song focuses on something totally different, from sending love to those who hurt you, to letting go of control and embracing wherever it is life is taking you.

You Flew, the current single, is about caring for someone who is not ready to love. Did the song arrive from a fictional viewpoint or was there a particular inspiration?

There was definitely real inspiration for this song. It’s actually not about one person in particular but came from a couple very similar experiences I’ve had with different people: most recently right before I wrote the song. I think the fact that I’ve experienced this more than once honestly allowed me to put more emotion behind the lyrics because it was such a familiar feeling.

The song has a very gentle sound; your voice beautiful and aching. Was that sound/dynamic enforced by the strong Country scene in Nashville? Any particular singers helped to shape your vocal style

Thank you so much! I didn’t consciously take any influence from the Country sound - Country is not something I ever listen to, even here in Nashville. But as far as influence from other singers go I really love Liz Longley - her vocals are always so emotive and strong but delicate. I also really love more soulful singers like Lianne La Havas and Matt Corby and the way they use dynamics to add feeling to their lyrics. I really try to emulate this kind of style, because I think the way in which the vocals in a song are delivered is one of the most important things, and it’s what really allows the listener to connect to the lyrics.

PHOTO CREDIT: Linda James Parrott

Can fans here in the U.K. expect to see you soon? Any plans to tour Europe and the U.K.?

I would absolutely love to tour Europe and the U.K.! It’s something I’ve been talking about lately and I’m hoping to start planning a leg for next summer. So yes, hopefully very soon!

You often write messages to your fans and motivational messages. They, in turn, throw a lot of love your way. How important are your followers on social media and how important with regards to your energy and passion for music?

I truly appreciate every single person that follows me and shows even the smallest amount of support, so much more than I can say. It is such a gift when someone chooses to follow my journey and take the time to listen to what I have to say. It’s something I don’t take for granted and knowing I have the ability to positively influence even just one person gives me purpose and drive.

I know you have just released an E.P. but are there any plans for more music this year? How does the rest of 2016 pan out so far

Looking forward to the remainder of 2016 I don’t have any releases planned yet but I’m hoping to get back in the studio really soon. I would love to have another single out by November. Right now I’m in the process of getting a band together so that I can start playing full band shows, and I’m looking forward to a couple festivals I’m playing in September, one of which my favorite artist, Trevor Hall is headlining, so it’s very exciting and pretty surreal.

You must see a lot of great local artists around Nashville. Are there any you would recommend to people? Which mainstream artists have excited you this year?

So many! I have a ton of favorites because there is so much talent here but a few of them are Suzy Jones, Addison Mills, and Stephen Day. As far as mainstream artists go, this year I’ve really gotten into Allen Stone, as well as Jon Bellion after his newest release this May. I think the way he writes is genius and his songs are the kind that makes me wish I wrote them.

Having had such a varied and busy career so far: which times and moments have been the most precious and important?

The moments that have stuck with me the most are the ones where people have told me how much of an impact my music has had on them.

To hear that what I create and put out there is leaving a significant and lasting impression on someone is so surreal to me because that’s always my goal, but to know it’s actually happening is the most encouraging and humbling thing.

What advice would you give to anyone looking to follow in your footsteps?

I think one of the most important things as an artist is to find what makes you different than everyone else and really use it to your advantage. It’s something that’s allowed me to really connect with listeners, like with Painted Hearts for example - the song is really unique (and possibly pretty out there to some) but it’s made people pay attention because it doesn’t sound like anything they’ve heard before, including the concept itself. I think it’s easy for artists to fall into the trap of trying to sound like other musicians they look up to - I’m guilty of this too - because they figure it must mean success. In reality, though, all of the greatest artists got to where they are because they were the ones who did what everyone else wasn’t.

Finally- and for being a good egg- you can name any song you like; I’ll play it here…

Does You Flew count? :)

[youtube https://www.youtube.com/watch?v=wL6NVR7Nj8A&w=560&h=315]

________________________

Follow Katie Buxton

 

PHOTO CREDIT: Sam Polonsky

Facebook:

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

Official:

http://www.katiebuxton.com/

Twitter:

https://twitter.com/ktbuxton

YouTube:

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

Instagram:

https://www.instagram.com/katiebux/

SoundCloud:

https://soundcloud.com/katiebuxton

FEATURE: The August Playlist: Vol. 5: Rarities and Round-Up

FEATURE:

 

The August Playlist: 

 

 

Vol. 5: Rarities and Round-Up

______________________

I sort of guessed there might be another installment…

in this series, and if has proved to be the case. It is always great hearing new songs and unexpected singles: so many of the best albums from this month have not made their way to mainstream papers and websites. Having a dig through Metacritic and their list of albums has shown me what is hiding away from the spotlight of the music big-players. Some charming tracks and wonderful artists: musicians that deserve a lot more attention. I compile them here and - because it is 22-years-old today - a track from Oasis’ seminal debut, Definitely Maybe.

_____________________

Bon Iver – 33 “GOD”

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

Cold Pumas – Open Mouth at Dusk

[bandcamp width=350 height=470 album=1173078228 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=2503530674]

Dead Ringers – Lion Killer

[bandcamp width=350 height=470 album=2607214935 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=797322162]

The Pineapple Thief – No Man’s Land

[youtube https://www.youtube.com/watch?v=qxYFXw5I45A&w=560&h=315]

Thee Oh Sees – Ticklish Warrior

[youtube https://www.youtube.com/watch?v=k_HsWX23Flo&w=560&h=315]

Palmistry – Lifted

[youtube https://www.youtube.com/watch?v=udLiwGJvd5A&w=560&h=315]

Black Dylan – Hey Stranger

[youtube https://www.youtube.com/watch?v=0yD6EGeUzBg&w=560&h=315]

Bayside – Not Fair

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

Dolly Parton – Pure and Simple

[youtube https://www.youtube.com/watch?v=VVc07KydYSI&w=560&h=315]

Lisa Hannigan - Ora

[youtube https://www.youtube.com/watch?v=iK0iTE-kwpc&w=560&h=315]

Sam Coomes – Stride On

[youtube https://www.youtube.com/watch?v=N8XkoSz-XG8&w=560&h=315]

Banks & Steelz – Anything But Words

[youtube https://www.youtube.com/watch?v=V3zTRDisnUY&w=560&h=315]

The Album Leaf – New Soul

[youtube https://www.youtube.com/watch?v=e90d_dr-FwI&w=560&h=315]

The Parrots – Let’s Do It Again

[youtube https://www.youtube.com/watch?v=9BUG_h8auXY&w=560&h=315]

The Hunna – Sycamore Tree

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

Blue Pills – I Feel a Change

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

Against Me! – Haunting, Haunted, Haunts

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

Grouplove – Do You Love Someone

[youtube https://www.youtube.com/watch?v=i4jYyUCqUOk&w=560&h=315]

The Wytches – C-Side

[soundcloud url="https://api.soundcloud.com/playlists/248573988" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Grimes – Medieval Warfare

[youtube https://www.youtube.com/watch?v=OXor30_XZMY&w=560&h=315]

Kate Nash – Good Summer

[youtube https://www.youtube.com/watch?v=DO8-2kU6Yms&w=560&h=315]

Tove Lo – Cool Girl

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

Oasis – Cigarettes & Alcohol

[youtube https://www.youtube.com/watch?v=UJDK8X5K9mw&w=420&h=315]

That is it for August: September is a few days away. Unless something great appears in the next few days: it is on with September and the songs/albums being teased and speculated. It is impossible representing all the great tracks from August’s albums and artists but I hope the 5-part feature has brought most of them to you guys. Enjoy the music and see you (for this feature) in a few days.

TRACK REVIEW: Tamu Massif - OK

TRACK REVIEW:

 

Tamu Massif

 

 

Ok

 

9.4/10

OK is available via:

https://www.youtube.com/watch?v=FYD0LxE4MxA

GENRE:

Alternative

ORIGINS:

Weston-super-Mare, U.K.

RELEASE DATE:

July 2016

__________________________

SCANNING about the wave of solo artists emerging right now…

and there is, it goes without saying, enough variation for everyone. I feel today’s music is a confusion battleground where we are only really exposed to a small percentage of artists out there. In order to establish who the very finest out there are: radio and the Internet are the best two options; it can be tough getting on top of it all and keeping track. I am an ardent fan of 6 Music and find their proffered artists are among the best in the world – I do wonder how many artists they miss out on, though. It is impossible playing every fantastic artist out there but I guess that is the good side of doing a blog: you get to see another side of the music world that escapes a lot of radio stations and press outlets. Before I come to investigating my featured artist: I wanted to talk about emotion through music; artists from less-known counties of the U.K. and inspirations for song subjects. We all love a musician that digs deep and presents something emotional and introspective. So long as the music is not too heavy and draining: getting a glimpse into an artist’s soul is one of the finest aspects of music. Too many artists write about love dislocation and inner-searching but hide it behind heavy beats and electronics – it can distill the true emotions of the song and come off somewhat cheap and insincere. One of the problems about being truly open and tender is losing people’s attention. It is a hard balance to assess something raw and harrowing whilst keeping the focus of the public. As such, a lot of new artists coming through are changing their pens away from deeply personal (and harrowing) subject matter and concentrating on other concerns. It is a shame but I guess having lyrical diversity is only a good thing. If we go back to the theme and seeing what the solution is: new artists like James Blake (although he’s been around for a few years) is a good example of how it should be done. Take his current album, The Colour in Anything, and it is rife with deep and textured songs that are among the finest this year. Previous Blake albums have been more maudlin and romance-based – assessing damaged love and trying to piece it together. Never one for direct lyrics and obvious storylines: metaphors and oblique touches are sat aside tremulous, atmospheric vocals. The Colour in Anything yearns for happiness and self-improvement; spaciousness and drama run throughout but above all is sheer beauty and majestic shimmer. He is one of those musicians that not only takes control of his songs, and does not let scores of producers tamper with them, but is able to pour his heart onto the page and keep the listener entranced. For those musicians that want to balk against acoustic guitar-led sounds and a one-dimensional approach: Blake has shown what can be achieved with compositional variation and intelligence. I bring up this (rather lofty) aspect up because of my featured artist, Tamu Massif. That name is actually a moniker of Weston-super-Mare artist Dave Dixon and he has got me thinking more about music and standing out from the crowd. His latest track, OK, recalls a rather upsetting time – more on that later – but the way he puts that on the page goes beyond the routine and predictable. Not quite putting as many elements into the mix as James Blake: he manages to elicit a range of ideas and possibilities through the composition; mixing sound effects and harder sides with elliptical, light-seeking moments.

OK casts its inspiration to a dwindling friendship and fractious time for our hero. Relationship break-ups are common concerns for musicians but usually centre around love – friendship erosion is not as widely covered as you’d imagine. We all experience times when treasured acquaintances and mates drift away or there is an argument. I feel too few songwriters do not cover these kinds of topics because they fear it is too personal – damaging a friendship beyond repair perhaps. If a relationship ends, you are not looking to get back with that person – so it is okay to put it down in a song. Maybe trying the same with a friendship drama is risky business? I am not sure but Massif has shown bravery and insight but capturing a stressful and fraught time, and in the process, bringing something new to the realms of break-up and split. What stuns me about a lot of modern artists is how rigid they are lyrically: often going for lowest-common-denominators and easy answers. We all have busy and complicated lives so one would imagine there is enough food for thought? Of course, love is important and we all can relate but that is not to say the consumer wants to hear about it all the time. You do not need to look too far away or reinvent the wheel: just take the time to concentrate on something less expected; something nobody else is covering. Those musicians that stick in my mind are the ones who introduce you to fresh horizons and rebel against formulaic topics. Massif has looked at love in the past, but as his latest single proves, he is an artist that captures of-the-moment events and places them on the page. The only way music will push forward and inspire future generations if we become less rigid and defined. It is an area I want to go into more depth about but it might have to wait for another time.

It is good finding a musician that comes from outside of London. I love London but have focused quite heavily on the city the last few months. Massif will be playing a lot of London shows in the future but his base and home is Weston-super-Mare in Somerset. I have reviewed acts from around the U.K. but is has been a while since I have stepped outside of London and its environs. When we think of upcoming artists, perhaps Somerset is not top of our considerations. I feel we often get too obsessed with the big cities and forget there is a whole world of towns and villages with fantastic musicians in. Historically, there are not a lot of legendary musicians that hail from Somerset – I might be wrong but I am struggling to think. The likes of Tamu Massif will not only help put Somerset in the mind but raises a good point. Music is not exclusive to the cities and London and we all need to realise the full scope of British music. I said early on how difficult it is to discover all brilliant new musicians coming through but one imagines a little dexterity and flexibility will go a long way. I had never really thought about Weston-super-Mare for music but am compelled to look more and see what other musicians come from there. Further than that: I will look at other less-represented musical counties and discover what is out there. It is vital we support artists from all over the country and ensure we do not overlook areas outside of the city. I feel one of the reasons we get obsessed with cities like London and Manchester is that is where so many musicians end up. Personally, I know a lot of musicians who flee to London due to the lack of opportunities where they live. Maybe there are not enough platforms or too few people: how realistic is it remaining in villages and towns if you are an artist? Naturally, the more people that pack into cities the harder it is to find opportunities: the cities become compacted and it leads to musicians being squeezed out and suffocated. It is difficult making it in the industry so can appreciate the lure and attraction of the city. Tamu Massif records at his Weston-super-Mare studio but gigs in London too: seemingly striking a wonderful blend and not too overwhelmed by the rush of the city; finding inspiration and creative outlet at home. I am digressing but it is another point that we need to address: providing more money to towns so musicians do not have to move out; easing the burden in the big cities to ensure musicians there have chances.

Looking back on Massif’s work and you can see how far he has come in the last couple of years. Azora was released just over two years ago but showed a promising young talent and someone who differentiated themselves from the mass of artists out there. The composition is quite sparse but the racing beats and delicate piano notes create a lot of emotion and story on their vocal. When listening to the vocal, you are hard pressed to compare it with another singer, and instead, are introduced to a soulful and emotion croon. A singer that is capable of delicacy and power in the same breath: Azora is a song that gets into the head and has so many different layers and sides to it. Perfect for contemplative times or a solitary drive during sunset: it has that self-assessing mood and tranquility to it but enough energy and spirit to stand up to repeated plays. An impressive song no doubt. More recent work like Holding Back has shown how adaptable Tamu Massif is. A more traditional, acoustic-based number: its emotional resonance and gorgeous vocal get the hairs standing up. Despite a certain pastoral mood: Massif injects fizzling electronics and colours into the song to ensure it never becomes sonorous, boring or unengaging. The song draws processed, hypnotic female vocals in and warped sounds: juxtaposing against the reverent beauty of the opening; Holding Back grows into something complex, busy and spectacular. Listening to the opening minute and you assume you have the song figured out. Each line and verse find Holding Back grow and expand; taking in new sounds and ideas and demonstrates what a talent he is. OK takes that a step further and is, in my viewpoint, the best song Massif has created so far. It has strands of Holding Back’s D.N.A. and is a new phase for the artist. Alba was wonderfully received last year but I feel the 2016 output from Tamu Massif is stronger, bolder and more arresting. I am not sure if certain influences and experiences have led to this evolution – you can definitely hear a slight improvement and new inspiration. I am sure the upcoming E.P. will contain similar songs to Holding Back and OK and be up to that level. Early on, I mentioned James Blake and you can detect that as an influence in Holding Back and OK. The Electronic/Alternative/Post-Dubstep musician is compelling a lot of new artists and that is to be commended. Tamu Massif does not replicate Blake’s themes and sounds: using him as a bit of a guide; he creates his own version of that foregrounded Post-Dubstep sound and put his own stamp on it.

OK is the latest song from Tamu Massif and recalls the closing phases of a fading friendship. While visiting friends in Naples (last New Year’s Eve); that is when inspiration struck. Hearing and watching the fireworks burst from his balcony: he got thinking and ensured he captured the sounds and explosions of the night. Rather than dwell on the pain and loss; it has gone into a song that is mature and intelligent. Massif (or Dave Dixon, I should say) knows relationships and friendships can be temporary and unpredictable at the best of times. OK begins with oddly child-like, processed vocals that make you think straight away. Perhaps the sound or sample of the friend in question (it is a female voice) is a weird and machine-processed opening that gives you an insight into OK’s mindset. Distorted, hazy and confused: such an instancy and urgency can be discovered straight off. There is little time to reflect and predict as the song comes straight to life. Subtle but powerful electronics create a brewing storm whilst the beats crackle without becoming too heavy and insistent. That vocal opening seems like the other side of a conversation of a voicemail being played – not quite real but very relevant to Massif. When approaching the microphone, the voice is typically emotive and powerful – power and strength seem to define the work of Tamu Massif. Although some of the early vocals suffer some intelligibility issues – slightly drawled which means it can be hard to pick up on the lyrics – it is the fervency and passion of the vocals that matters most. A stunning voice that has ample beauty and grace to it: our hero does not want to settle down and rush in life. You get thinking about the dynamic of that friendship and what has caused this drifting apart. I am not sure whether our hero’s friend is male or female but one senses it is a female. The two used to be close but have not been in touch for a while now. It is not necessarily anyone’s fault and perhaps they are different stages of life. I sense the bond was quite important and perhaps has romantic possibility. It seems like the two were serious at one point, but now, they are reduced to scant conversations and the odd communication. Our man might not have been that smart and a bit lackluster; maybe remiss and ignoring the importance of the friendship. “Is it okay?” our hero asks if he doesn’t settle down: it gives you impressions of romantic domesticity or a shared agreement. Perhaps the two had plans or she was getting a bit too firm – perhaps wanting him to commit to a way of life or spend a lot of time together. Massif is a free and creative young man that is dedicated to music and this might have been a breaking point. Unable to commit to a time and place and predict the future: it seems like differing interest has found them separated and on barely-speaking-terms.

OK has two distinct halves to it. The first is reflecting on what has happened and asking pertinent questions (whether they can start over again); trying to piece things together and wondering what went wrong. The lyrics, those that are clear and come through, sort of offers apologies and explanation but seems confused and lost – it was a pure friendship but has just drifted away out of control.  The vocal and lyrics are placed in focus and our hero wonders if he is becoming sentimental and over-thinking perhaps. The second phase of the song places more emphasis on the composition: perhaps our hero is spent and too emotional to carry on; steps away from the microphone. After the first couple of minutes, we learn a little about how the friendship broke down. There is a regret but no real answer as to what happened. It just seemed like the two were on different pages but there is that desire to rekindle things and regain that closeness and connection. Knowing it is beyond repair or slipping away: the second half of OK lets the music speak. Electronics trip and persists; they trip and swoon and shimmer – occasional beats add a little spark but keep in the shadows for the most part. A song that has sensuality and loneliness to it: you imagine the time that inspired the song and what Tamu Massif was thinking about. After the pitch-shifted vocals and melancholy of the opening: it all develops and changes. There is chaos and celebration in the street, but on the balcony, a sense of twilight eeriness and thoughtfulness. You transpose yourself into the song and are stood alongside the hero – looking down from the balcony and lost in his own thoughts. Towards the closing stages; that New Year’s Eve celebration and rapture comes more into the song. Before that, there are twinkling and odd electronic notes: they ping and twinge; quite a strange but inviting sound that makes you wonder what influenced them. Oddly, you get a flavor of Japan and Asia in some of the composition: as though you were walking through a Tokyo night and the local sounds, strangeness and beauty of the city. Against that, some more defined and sturdy beats come in and OK gains new light and traction. It is difficult creating a song that is composition-heavy and pulling it off. So many modern musicians lack necessary inventiveness and intellect to captivate the listener. Tamu Massif presents a composition that has so many different stages and elements together but retains a singularity and focus. Into the final minute, the hero comes back to the microphone and seems like he needs answers still. Maybe his friend was kinder and purer; their paths never meant to continue together but it seems painful none-the-less. Despite the fact there are decipherability issues to some of the vocals, that is part of the appeal. The sheer emotion and weariness are more potent and memorable than anything: our man aghast and tired in the night; weighed down by the heartache and emotion on his shoulders. OK ends things with firework samples and crackling: those Italian firecrackers provide a suitably authority and appropriate finale. You have to sit back and take it all in when the song ends and might take a while to listen to it again. It is a personal and important song for Tamu Massif and one that will surely strike a chord with listeners who have gone through the same sort of experience. The finest and most compelling song in the Tamu Massif catalogue: let’s hope it features prominently on the new E.P. It is commendable pulling away from relationship dilemmas and concerning something else. OK is a fascinating number and one that will see Tamu Massif exposed to a wider audience and gain lots of new supporters and radio attention. Already, the song has picked up some great reviews and that will give it creator heart and inspiration. Mixed by Youth Lagoon & Perfume Genius associate Ali Chant (produced by Tamu Massif): OK is a stunning song that announced a very fine talent.

Tamu Massif has already achieved quite a lot in his career to date. Having been tipped by NME and enjoyed airtime on 6Music and Radio 1: not many new musicians can claim that. It is hard to get recognition and exposure on the nationwide stations so when it happens that honorific should not be underestimated. Massif will be doing no such thing and capatilsing on that momentum and patronage. There is an E.P. out soon and plenty of excitement and expectation surrounds it. Following his well-received E.P. Alba, I am sure his upcoming E.P. will build on that early promise and show new inspiration and influences. OK shows Massif is not a musician that stands still and is always developing his work. Supporting the likes of C. Duncan and The Japanese House live; there will be headline dates and key gigs in his calendar. All exciting times for the young artist. Dave Dixon’s alias is an intelligent, emotional character whose music has registered with a lot of people already. I feel Massif is deserving of more attention and followers. His social media numbers are solid and building but, when compared with some artists, one wonders whether his forthcoming E.P. will redress this. I see a lot of lesser artists with thousands of supporters and they do not deserve it. Perhaps they are image-heavy or get more focus on radio: Massif is a more honest and hard-working musician and I am sure his talent and graft will be richly rewarded. He will not quibble over social media numbers and such concerns: the demand and appreciation he is receiving prove how much love and support there is. OK is a fascinating glimpse into a wonderful musician who has taken a harrowing deterioration and turned it into something strangely gorgeous and inspiring. OK is not just a simple, acoustic-based song where the hero pours emotion out and is tear-stained and wracked. Massif understands this approach is likely to appeal to a certain listener, and because of this, consideration, intelligence and innovation have gone into his latest single – ensuring it registers and appeals to a wide range of music fans. It is a brilliant window into the as-yet-untitled E.P. and is certain to put Massif firmly in the musical forefront. He has already had his music played on our most influential stations but I have the sense he will grow even bigger and be afforded more chances further afield.

One feels Tamu Massif has an audience waiting internationally and is capable of breaking into new countries and continents. I am sure he will want to focus his attention in the U.K. for now: finance might be an issue and it is not practical jaunting abroad and performing around the globe. That said, one gets the impression it will not take too long before fortunes change and international gigs are going to be a reality. I say this with a lot of British musicians but there are U.S. opportunities and audiences who are latching onto our best acts. Looking about social media; I have seen a lot of British artists put their songs out and get heady praise from U.S. listeners. Perhaps there are quite a few British musicians playing across the U.S. but I am wary not as many as there should be. Again, perhaps another discussion for another day. It is hard to sum up Tamu Massif as there is a lot of mystery and intrigue about his music. That nom de plume is the name of a dormant subaquatic volcano: it gives you an insight into the emotional blend and dichotomy of his music. You have that beauty and safety but always feel like there could be an explosion at any moment. Thinking about the volcano, and where it is situated, it seems like a very apt name for OK’s author. He splits his time between Weston-super-Mare and London and is one of those artists you know is going to be playing for years to come. It is hard to stand out in the industry as there are so many like-minded musicians aiming for the same goals. Tamu Massif seems stress-less and relaxed against the pressures of the modern age. Although OK looks at a friendship on the rocks: you feel, away from the studio, Davie Dixon has a plan and knows where he wants to head. I urge people to go see Tamu Massif live and be brought into a very magical and entrancing world. The reviews he has already accrued speak for themselves. I have talked about cliché and predictable subjects in music and I feel it is a problem that will blight a lot of new music. We have all heard the Pop star talking about bad love and these tropes are putting people off – many of us want something new and less obvious. Tamu Massif has gone through relationship quandaries and knows it is important to assess that. OK stands out because it moves away from that and addresses a unique and idiosyncratic event. Not only does the originality stand out but the way it is delivered. Not just confining himself to vocal-and-guitar easiness: sound effects, bass, and electronics are weaved together to create a tangible and evocative number. If you have grown weary of the unsophisticated and simple musician that is incapable of connecting with the heart and soul then you should definitely spend some time with Tamu Massif. The dormant-volcano-under-the-water-cum-Somerset-innovator is a curious blend and incredible young talent. OK will lead to an E.P. and that E.P. is going to mutate to future releases. It is a good time for Tamu Massif: his latest single is…

THE start of some very big things.

[youtube https://www.youtube.com/watch?v=FYD0LxE4MxA&w=560&h=315]

_______________________________

Follow Tamu Massif

 

Official:

http://www.tamumassif.co.uk/

Facebook:

https://www.facebook.com/tamumassif/#_=_

Twitter:

https://twitter.com/tmassif

Instagram:

https://www.instagram.com/tamumassif/

SoundCloud:

https://soundcloud.com/tamumassif

FEATURE: When Music Ruled the World: 14 Essential Albums from 1994

FEATURE:

 

 When Music Ruled the World:

 

 

 

14 Essential Albums from 1994

______________________________

DEPENDING on when you were born will often determine…

which albums and artists mean most to you. I was born in 1980-something (let’s just say Duran Duran were big back then) and grew up on a combination of ‘60s master like The Beatles and The Rolling Stones with plenty of Steely Dan, T-Rex and sounds of the day – running through New Romantic darlings and pop kings such as Michael Jackson. I feel I was born in the absolute pinnacle time: when the ‘90s hit I was 6-years-old. When 1994 started to throw up some truly wondrous albums I was 10, and just the right age to let music seduce and conquer my soul. The 1980s, by and large, was a little variable but there were some stunning albums from the time. The ‘90s, unlike any other decade, seemed unstoppable and completely beyond reproach. Sure, there were bad albums and songs like any other time but in terms of sheer quality: can you think of any other decade that gave us so many classic albums? I am not sure what was in the water and how influential the 1980s was: musicians were producing new genres and pushing boundaries; helping to create movements (Britpop among them) and change the face of music.

I have covered the topic before - https://musicmusingsandsuch.wordpress.com/2014/02/09/feature-a-love-song-to-1994-the-year-that-changed-everything/ - but felt compelled to revisit – plus, I included The Bends on the list despite the fact it was released in 1995 (close enough, eh?!). That being said; Radiohead were working on The Bends and just about to release their (in my view) finest album ever. They were the outsiders of the Britpop move but an essential band who contributed so much. It is hard to distill a phenomenal year into 14 L.P.s, and it might be an arbitrary number, but a way of showcasing just what variation and quality came along that year. If you prefer today’s music or the bands of the’60s: few can deny just how astonishing and peerless 1994 was. No single year has produced so many world-class albums and game-changing creations. Sit back and let the 22-year-old time of wonder flood back: a collection of the albums and songs that shaped 1994.

Jeff Buckley – Grace

 

Jeff Buckley did not arrive out of nowhere by the time of his debut, Grace. A celebrated fixture of New York’s café/bar scene: he had a loyal and awe-struck following fully aware of what he could create. Released on August 23^rd, 1994: Grace remains (sadly) Buckley’s only completed studio album – he died three years later. Only reaching 149 in the U.S. charts and suffering poor sales figures – a record that gained huge popularity after Buckley’s death. Critics were not aware at the time but Grace remains one of the most impressive albums by any singer-songwriter and the introduction of a truly peerless talent and golden voice.

Download: Grace, Last Goodbye, Lover, You Should’ve Come Over, Dream Brother

[youtube https://www.youtube.com/watch?v=y8AWFf7EAc4&w=420&h=315]

Manic Street Preachers  – The Holy Bible

 

Manic Street Preachers were well under the critical radar by the time The Holy Bible arrived. The group’s third album was the last to feature lyricist and rhythm guitarist Richey Edwards. Fighting severe depression and self-harm: the enigmatic figure would disappear soon after the album’s release – Everything Must Go was the first album after that not to feature Edwards. Perhaps the album’s subjects of anorexia nervosa, depression and anger were a cry for help from a young man suffering the weights of the world. In musical terms, it is a stunning album whose lyrics and stories draw you into a strange and dark world – compelling and utterly engrossing some 22 years after its release.

Download: She Is Suffering, 4st 7lbs, Mausoleum, P.C.P.

[youtube https://www.youtube.com/watch?v=rl2Jv4dzFqg&w=560&h=315] 

Hole – Live Through This

 

The sophomore album from American Alt.-Rock band Hole: the record was released a week after the death of Courtney Love’s boyfriend, Kurt Cobain. With Grunge’s godfather departed (Hole’s bassist Kristen Pfaff died two months after the album’s release), it was a difficult time for Hole’s lead. Live Through This is not hardcore, hard-hitting and unrefined – the band’s debut album played very much in this aesthetic. Instead, there is polish, refinement, and thoughtful song structures. Love, infatuated by notions and ideals of beauty, turns her pen to subjects of motherhood, anti-elitism, and domestic violence. Despite the tragedy that would befall her after Live Through This was released: the album itself remains a beautiful, beguiling and one-of-a-kind offering from a tremendous songwriter.

Download:  Violet, Asking for It, Doll Part, Softer, Softest

[youtube https://www.youtube.com/watch?v=mS1Ckczz0LQ&w=420&h=315]

 

Green Day – Dookie

 

Still going strong and about to release their album Revolution Radio: it hardly seems like the boys have changed at all. Dookie, although some might agree, remains their finest creation and a Punk-Rock classic. This was the album that put Green Day into the public forum and truly elevated them to superstardom. It would reach number 2 on the U.S. Billboard 200 and helped put Punk-Rock firmly in the mainstream. Dookie has since exceeded 10 million copies and, even in a year like 1994, topped many critics’ end-of-year polls. Listen to songs like Welcome to Paradise, Longview and album-highlight Basket Case and it is not hard to see why. Electric, intense performances, and complete conviction from a band with plenty of attitude and anger – all brought together a truly remarkable album.

Download: Longview, Welcome to Paradise, When I Come Around

[youtube https://www.youtube.com/watch?v=NUTGr5t3MoY&w=420&h=315]

Suede – Dog Man Star

 

Another one of those bands that perhaps were slightly outside the Britpop movement happening in 1994. Whilst contemporaries Blur and Oasis were releasing their career-defining albums – and embroiled in spats and rivalry – Suede sat outside of that and got on with their own thing. The sophomore album from the Alternative-Rock legends: this was the last album to feature guitarist Bernard Butler. Tensions between him and frontman Brett Anderson reached untenable levels – you can hear on the album – and Dog Man Star’s themes, not a shock, were dark and juxtaposed the optimism of Britpop – bringing influences like David Bowie and The Smiths together. Suede would make more harmonious albums but none better than this.

Download: We Are the Pigs, New Generation, This Hollywood Life, The Asphalt World

[youtube https://www.youtube.com/watch?v=zJYbovI6abc&w=420&h=315]

Pavement – Crooked Rain, Crooked Rain

 

What is striking about this compilation (unintentionally I might add) is how many sophomore albums appear on the list. New York’s Pavement followed from their equally-brilliant debut Slanted and Enchanted with Crooked Rain, Crooked Rain. This, unlike their debut, was a more accessible fare and less lo-fi – their debut was more ragged, raw and undisciplined. Going on to sell more than 500,000 copies: it was a critical success but did not achieve high chart placings and sales. Showing how irrelevant show considerations can be: Crooked Rain, Crooked Rain is one of the ‘90s’ greatest albums and a bold statement from a band who helped redefine the scene at the time, and with it, influenced scores of upcoming bands. A priceless and treasured album from a band whose relevance and genius should not be undervalued.

Download: Cut Your Hair, Haunt Me Down, Gold Soundz, Filmore Drive

[youtube https://www.youtube.com/watch?v=1VVj1zqbWpU&w=420&h=315]

Weezer – Weezer

 

Not a sophomore album this time but a (defiant) debut from Rock band Weezer. Released in May 1994 it entered music at a busy and competitive time yet remains one of the year’s best albums. Produced by Ric Ocasek (front-man of Cars) and recorded at the legendary Electric Lady Studios, N.Y.C.: the album saw Undone – The Sweater Song, Buddy Holly and Say It Ain’t So as singles. Buddy Holly’s innovative, groundbreaking video helped put the album into the history books but the band’s slice-of-life tales and witty suburban conversations – the fine pen of Rivers Cuomo – helped it to be a chart success and set the band aside from their peers. Their similar-minded, ‘70s-Rock-aping contemporaries went for obvious influences whereas Weezer favoured Bubblegum Power-Pop acts like Cheap Trick. Geekdom has never sounded so divine and universal.

Download: My Name Is Jonas, Undone – The Sweater Song, Only In Dreams

[youtube https://www.youtube.com/watch?v=kemivUKb4f4&w=420&h=315]

 

Portishead – Dummy

 

Portishead came into music with an emphatic album in Dummy. Released in August and released by Go! Beat: the album went on to win the 1995 Mercury Music Prize. Not only did it single-handedly help to popularise and promulgate British Trip-Hop but it stands as one of the landmark albums of the 1990s. Although Dummy was certified gold in 1997 and sold millions of copies: when it was released, it enjoyed modest chart success. What we can discover from this list is how slow the public of 1994 was to embrace stunning albums. Perhaps too forward-thinking or unusual: thankfully, subsequent years and generations have been far fairer. Of course, we all know where Portishead would go and the effect they have had on music. Massive Attack – another Trip-Hop band that helped shape music – would bring their brand of dark and dramatic elements to the genre – Dummy is an album that helped launch Portishead’s career and is often seen as one of the essential albums of any genres and year.

Download: Sour Times, Numb, Roads

[youtube https://www.youtube.com/watch?v=4qQyUi4zfDs&w=560&h=315]

Nirvana – Unplugged in New York

 

Unplugged in New York was released following Kurt Cobain’s death and one of the final recordings he ever undertook. Acoustic versions of classic Nirvana cuts were interspersed alongside band favourites and legendary Blues songs. Unlike other Unplugged shows; Nirvana went for a lesser-known set-list that put mood, emotion, and variation ahead of hits and radio-friendly gems. Going on to win the Grammy Award for Best Alternative Music Album in 1996: it is regarded as one of the greatest live albums in history. You are mesmerised by the band’s performances (Cobain especially) and the reaction from the audience – alternately delirious or awe-struck by what they were seeing. Cobain’s death might have put a tragic dimension on the album but nothing can distill or dampen its legacy and brilliance.

Download: About a Girl, Jesus Don’t Want Me for a Sunbeam, The Man Who Sold the World, All Apologies

[youtube https://www.youtube.com/watch?v=gOZKz_sPM6U&w=420&h=315]

Blur – Parklife

 

Blur’s third and most exceptional album: Parklife was released the same year as the equally-amazing Definitely Maybe. With Blur and Oasis entrenched in competition and civil war: you were even in Camp Blur or Camp Oasis. Oasis’ northern influences and songs of youthful optimism and Rock ‘n’ Roll excess were contrasted by Blur’s southern suburbia and more emotional insights into love and domesticity. In truth, both bands help define Britpop for very different reasons. After Modern Life Is Rubbish’s disappointing sales the previous year: Parklife was the rebuttal that showed just what Blur were capable of. Over five million copies have been sold and, alongside Definitely Maybe, it places Britpop/Cool Britannia on the map.

Download: Girls & Boys, End of a Century, Parklife, To the End

[youtube https://www.youtube.com/watch?v=SD8gO8TAr4s&w=560&h=315]

Soundgarden – Superunknown

 

Superuknown was Soundgarden’s fourth album and their greatest achievements. Few bands hit their stride that late in their career but hardly surprising given its background – especially the death of Kurt Cobain. Grunge’s leader was gone and Nirvana contemporaries Soundgarden reflected the mood of pessimism and fear in the music industry. Employing a greater range of influences and sounds than before. Although Cobain died a month after Superunknown was released there was something in the musical air: a sense that the troubled genius was not long for the world. Songs about suicide, depression and turmoil are not often easily digestible. Soundgarden’s incredible performances and exceptional songwriter – Chris Cornell’s planet-straddling voice at its most raw and unshaven – turned the album into a strangely uplifting and hopeful experience.

Download: Fell on Black Days, Spoonman, Limo Wreck, The Day I Tried to Live

[youtube https://www.youtube.com/watch?v=3mbBbFH9fAg&w=420&h=315]

The Prodigy – Music for the Jilted Generation

 

By 1994, the rave scene in Britain was becoming corrupted and ruined: Music for the Jilted Generation was a vivid and angry reaction that. The Criminal Justice and Public Order Act 1994 criminalised raves and put the kibosh on a lot of clubs at the time. Fueled and incensed by this insanity: The Prodigy reacted with a blitzkrieg record that rebelled against the stupidity and ignorance of the establishment. Lead songwriter/producer Liam Howlett has gone on to disassociate himself with the idea (Music for the Jilted Generation) was political – he hated the title and felt it petulant and misleading. Raw, dark and carnivorous from start to end: Music for the Jilted Generation is seen as a Big Beat/Rave masterpiece.

Download: Poison, No Good (Start the Dance), One Love

[youtube https://www.youtube.com/watch?v=YV78vobCyIo&w=420&h=315]

Beastie Boys - Ill Communication

Following the genius of Paul’s Boutique (1989) and Check Your Head (1992): pressure was on to repeat the trick on Beastie Boys’ fourth album. Ill Communication responded with a typically assured, mesmeric and cross-pollinating set of songs from New York’s finest. Perhaps not up to the lofty heights of Paul’s Boutique and License to Ill: there is plenty to recommend about the album. The rhymes – one of the elements pushed back in previous albums – was hard and firm in the mix. Renewed with a confidence boost and fresh intention: Ill Communication’s sharp lyrics were all present and correct. If the album as a whole doesn’t quite match their best work; you cannot argue or call the album a failure. In fact, it is one of the best albums from 1994 and boasts plenty of standout moments – not less the sensational Sabotage.

Download: Sure Shot, Root Down, Get It Together, Shambala

[youtube https://www.youtube.com/watch?v=z5rRZdiu1UE&w=420&h=315]

Oasis – Definitely Maybe

 

Few band’s since Oasis have created a debut album as confident and world-class as this. Definitely Maybe took everyone by surprise and helped to revive British guitar music – making it super-cool in the process. Alongside Blur’s Parklife: Definitely Maybe scored 1994 and proved British music was some of the finest in the world. More optimistic, celebratory and excess-reveling than some of more dour, hopeless and moody U.S. albums – Grunge and Alternative-Rock bands culpable – it was just what the public needed. Live Forever has been listed as one of the best songs ever for good reason. That optimism and hope; the simple message to live while you can and make anything possible – few bands or artists have penned a song like it since. Oasis would go onto split not long after 2008’s Dig Out Your Soul but they never sounded as fresh, inspiration and together than on Definitely Maybe. No doubt about it: one of those albums that should be in every record collection.

Download: Rock ‘n’ Roll Star, Shakemaker, Cigarettes & Alcohol, Slide Away

[youtube https://www.youtube.com/watch?v=i_2mWhfOhGU&w=420&h=315]

It is clear just how truly spine-tingling albums arrived out of 1994 and I cannot fathom why. Perhaps one of those inexplicable years or just a general feeling running through music - when its best artists really stepped up and shone. I would love to hear of suggestions and albums people think should be on this list. What a joy re-discovering some of the best albums of my formative years. It may be 22 years ago, but the finest albums of 1994...

ARE still inspiring to this very day.

TRACK REVIEW: Gold Phoenix - Oh So Hard

TRACK REVIEW:

 

Gold Phoenix

 

 

Oh So Hard

9.5/10

Oh So Hard is available via:

https://soundcloud.com/gold-phoenix-1/oh-so-hard-single/s-obcsl

GENRES:

Garage-Rock

ORIGINS:

Surrey, U.K.

RELEASE DATE:

8^th August 2016

Recorded at Rockfield Studios

Lyrics and Music by Gold Phoenix

Produced by Nick Brine

Engineered by Jon Constantine

Mastered by Pete Maher

________________

I have been meaning to review Gold Phoenix...

for a while now and for good reason. I shall introduce the boys soon, but at the moment, they bring up topic around real Rock; characters and personality in music and the difficulty in squeezing life from certain other bands. Many have been debating whether Rock and all its sub-genres, really has any life left and is as good as it was. I feel there are a lot of bands coming through but you have to wonder how many actually have the guts and glory needed to give Rock a good name? Many play Alterative-cum-Indie sound which is an excuse for crowd-pleasing choruses and songs about love and heartbreak. That is all very well, and we all need that, but you yearn for a bit more grit and power in the music. I admire bands that can whip up some meaty riffs and 10,000 volt charges but ensuring there is melody, emotion, and discipline in the music. There may be a lot of those bands around, but for my two-cents-worth, they are few and far between. I suppose there have been so many Rock bands through the ages; it is challenging doing something new and differentiating from what has come before. Bands think too literally when they approach Rock and decide what their music will sound like. They get it into their heads that audiences want it loud and sweaty without much nuance and intelligence. The modern consumer is more intelligent and discerning and demands something a little more layered and structured. That, as a band, gives you more breathing room and chance for maneuver. Indie and Blues-Rock are ways of taking a solid template and adding new shades and sounds into the mix. One of the reasons some say Rock is dead is due to the one-dimensional nature of some groups. They are too rigid and defined and do not understand what can be achieved by pushing the genre slightly and mixing other elements together. With so many new artists entering the fray: we are seeing a turn away from Rock and Alternative bands (as the majority) and welcoming a lot more solo musicians in.

Perhaps there is more to be found in other genres or (bands in general) are less stable and long-lasting than they used to be. I have seen so many groups call time due to the demands of the modern industry – the strain on the relationships becomes too much and they have to break up. It would be foolhardy to assume Rock and bands are a dying commodity as that is not the truth. The fact of the matter is, and why critics raise that heated question, is a watered-down, safe approach to Rock music. So many artists lack that necessary spark and fire which is sad to see. My featured act understands this and is responding by bringing Rock back to its roots. They are not just an un-distilled, straight-ahead Rock band, but instead, lace Blues into their work and come up with something popular but unique – packed with vitriolic riffs and exceptional performances.

I will continue – and raise a new point – soon, but for now, it is worth getting an insight into the awesome Gold Phoenix:

Jamie - Guitar – Vocals

Fred – Bass

Ed – Drums

“Surrey’s Gold Phoenix expresses large doses of raw, riff heavy Garage-Rock. The trio release their upcoming single, Oh So Hard, on August 8th with a video to accompany it, filmed by Joe Parker, at Full Tang Visual. The band were contacted by Producer Nick Brine (The Darkness,Oasis, Ash,Thunder) which followed in the recording of the single at the legendary Rockfield Studios in Wales, and mastered by Pete Maher (Jack White, U2, The Rolling Stones). Musically, Oh So Hard pays a powerful homage to the bands that have influenced their sound, with flicker of Queens Of The Stone Age, Placebo and She Wants Revenge, the seemingly dark lyrics pray amongst a heavy fuzz fuelled bassline that drives the song through its powerful mapped out arrangement. Oh So Hard is the follow up to the bands debut self titled EP which gained great reviews, airplay and recognition. The single Back To You was played on shows including BBC Introducing South’s saturday show, and Belgium’s Equinoxe FM.

Following the successful response of Gold Phoenix’s debut self titled EP in late 2014, the band spent the year playing shows around the UK. This included shows with international touring bands such as The Weeks and Thomas Truax, a London show supporting WWE Legend X-Pac and they supported UK upcoming bands Dolomite Minor, Eva Plays Dead and Armchair Committee. The band also toured the UK in August 2015 playing prestigious venues including The Jacaranda Club in Liverpool, Bannermans in Edinburgh and The Boileroom in Guildford”.

One of the reasons some of mooting Rock’s future is the bands/artists that are representing the genre. In a social media age you have to wonder: how easy it for personality to shine through? We hide behind screens and communicate electronically; it makes it hard to forge any sort of human identity and that can affect the music. One of the best things about a truly great band is the characters and personalities of the members. It is not sufficient to make your music connect: the people making it are expected to stand in the mind and connect with their audiences. Social media is a mixed blessing and double-edged sword with regards that side of things. Many musicians assume they can get away with a lack of character because they are speaking behind an electronic platform. So many bands put minimal information and biography on Facebook and Twitter; they do not give you a glimpse into their influences and, when it comes to the live setting, have a weak connection with the crowds. I am not suggesting all bands should be happy-go-lucky, in-your-face types that proactively throw themselves into the spotlight. There used to be a time, perhaps towards the Britpop/’90s era, when you got some truly exceptional bands – those whose members were as interesting as the music. In the last couple of decades, there are fewer and fewer band that get into the mind and can charm you with their personnel – perhaps the Internet is to blame or maybe it is sheer numbers. Music is becoming packed and crowded so it can be hard truly defining yourself and getting into the memory. Gold Phoenix have shown you do not need an army-sized P.R. campaign to register in the imagination. The three musketeers or Blues-Rock are hirsute, down-to-earth and funny: their personalities shine and they are as real and genuine as one would expect. Not hiding behind egos or letting other people speak for them: the boys captivate with their humour and true Rock spirit. They have a, as their Facebook page attests, a fondness for goats and cowbells – who doesn’t, I say! The boys are almost a trio you can see coming out the Deep South of the U.S. They have that façade and demeanor: good ‘ol boys who live the simple life; drink merrily and raise havoc – ensuring their music is a ball-kicking, groove-laden and in the impure side of things. You see what I mean about personality coming through - they have created these personas, to an extent, that makes them a fascinating prospect. When playing live, they connect with the audience and do not just bluster through the songs: keeping things light and upbeat; a good rapport with the audience. It goes a long way when putting your music and brand out there. If you can make the prospective fan smile and spike their curiosity then you have already won half the battle.

The other half of the fight concerns influences and the overall sound. Few bands/artist come into music and are completely original. There are a few, but for the most part, you can always hear a little bit of someone in their work. Everyone, whether you are a musician or fan, is inspired by other artists and takes them to heart. When embarking on a music career, you are always going to have them in your back pocket. So long as you do not replicate them or water them down enough – and are essentially ripping them off – then it can make the music cross-generational and wonderful. Everyone yearns to discover music that is fresh but has some familiar, legendary elements to it. Gold Phoenix are a trio that prefers their music hard-hitting and Blues-inspired. As such, they have a gamut of bands and artists that they could bring to mind. Unsurprisingly, it is the American heavyweights Queens of the Stone Age and The White Stripes that leave the lasting impression. I have discovered so many bands, local colleagues Gelato among them, who use Q.O.T.S.A. as a guiding point. To my mind, Gelato are a little too close to Queens’ and that sort of begs the question: if you duplicate another band then how original and distinct are you going to be? Gold Phoenix, like me, are fascinated by the band. One of my favourite albums is Rated R (an underrated Queens of the Stone Age gem) and I have plenty of time for Songs for the Deaf – I even love the much-unappreciated Era Vulgaris. Josh Homme’s crew always bring the goods and are among the most innovative, macho and talented bands of our generation. The White Stripes, sadly defunct, are another of my all-time favourite bands. I cannot imagine my record collection with Elephant and White Blood Cells nestling in there. Gold Phoenix must have been drooling in tandem: listening to these titans and being in awe of their majesty and musicianship. As such, it would be understandable to copy the bands to the letter. Given how many other bands are influenced by Queens of the Stone Age and The White Stripes: Gold Phoenix know there is not a lot of mileage left in that particular tank and are not a band who want to toss off some sub-Queens’ sounds. They use the boys as a starting block and then take it out: putting themselves into the music and ensuring they are not a covers band.

Starting off with a military step and sense of authority: Oh So Hard begins life quite light and rhythmic. The percussion patters and rolls and provides instant gratification and appeal; the listener hooked by the catchy drumroll and kick. Not going for a simple riff and adding too much energy straight on - instead, you get restraint but enough intrigue and fascination too. Just then, a buzzing, hacksaw fuzz emerges to add lightning to the thunder. Juxtaposed against the dignified and imperious percussion: the guitar and bass swing in without much seduction and restraint – they aim straight for the throat but ensures the song does not get too heavy-handed and loud. Oh So Hard has drawn comparisons with Smashing Pumpkins and you can hear a little bit of Bullet with Butterfly Wings/Mellon Collie and the Infinite Sadness in there. That is not meant to contradict my early points or do a disservice to the band. It is great hearing something that emotional, dark and grand. It brings together ‘70s Heavy Metal with Blues into a rictus of avalanche and harsh weather. Without a word being sung, you are in the kung fu grip and helpless to shake it off. The first minute-or-so is designed for the live crowds and seems like a set closer. You can play the E.P. tracks and they know what to expect – stunners that are familiar and they can sing along to. As Oh So Hard is new, it takes time to bed-in and register. For that reason, open with an appealing and head-banging riff that does not require sing-along and chorusing. For a glorious minute, you are caught in a riptide of strings and percussion. The drum smacks and keeps firm whilst the guitar spirals, snakes and stings its way through the undergrowth – bass keeping the song moving, together and fluid. You never get bored or think you have heard it before: a stone-cold sizzler that packs punch and groove in equal measures. Once you have surrendered to the balkanised attack of the introduction: you prepare yourself for what is to come in the first verse. Our hero steps up to the microphone and ensures his vocal hits the mark without delay. The song’s subject, whether a friend or foe, is strung-out and abandoned – perhaps overwhelmed by a situation and unable to keep their head together. I often jump to themes of love and romantic untangling when I approach any new song. Here, it seems like a friendship is being attested: the fall-out and struggle one person is facing at the moment.

Photo: Joe Parker

Given the song’s artwork – the black lipstick dripping down against a pink-and-yellow background – a femme fatale seems a likely explanation. Her “black heart” and red lips are firmly in the mind. If the crimson-coated lips have been telling lies and deceiving: her coal-dark, murky heart has been causing pain and upset. Not your average, idealised heroine: here is someone undesirable but strangely alluring at the same time. The anti-heroine is not a fairytale queen but a bit of a double-crossing vixen. Oddly, our man seems to find common ground or some sympathy with his subject. Maybe the two have a backstory that is hard to ignore. You wonder, given the song’s lyrics, whether an old romance is being described or a friendship. There is never too much negativity or bile; strangely, you get a sense of relaxation and seductiveness in the vocal performance. With the other two players stepping back slightly – to allow the voice to be high in the mix – it is a dramatic and confident without losing intensity and focus. Most songs of this kind would sharpen the vocal and polish it: putting it right in the centre and putting it on level terms with the instruments. Here, the voice (whilst high in the mix) does have a bit of a somnambulist quality and slight weariness. It is like our lead is fighting against the composition and battling to be understood. Maybe a conscious move by the band or a note from the producer: by putting the vocal where it is and delivering a certain way; it gives Oh So Hard a wonderfully delirious tone and wins you with its unique delivery. Our man is struggling against his thoughts and instincts. It is hard to walk away and move from this woman. She is clearly quite toxic but perhaps not intentionally so. If you look back (or up) to the song’s artwork; it gives a little glimpse into her looks and fashion. She is a sexy and eye-catching woman but someone who has some poison on her lips and acid on her tongue. Whether a shake-up against conventionality and boredom or a rather addictive love: it is not easy getting (the muse) out of the head and making a clean break. I may be overreaching and looking too hard but that’s what I get from the song.

Oh So Hard is the new single and one that did not appear on their eponymous E.P. Perhaps (the new track) is the signal another E.P. is coming: perhaps just a one-off track to keep fans happy and show how the trio has evolved. Look at the Gold Phoenix E.P. and you witness some stunning riffs and lightning-strike performances. Anyone thinking they are the sum of their influences needs to listen carefully and realise how original the boys are. You get nods to U.S. Blues-Rock and Desert-Rock bands but it is never too obvious or strong in scent. Gold Phoenix’s songs sound like live jams and have that loose and ragged appeal. Complete with solid and professional production sound and it is quite an intoxicating and heady blend. Oh So Hard, as opposed to tracks like Mortal Man and Where Did You Go, say, is the change of sound. The trio has moved slightly away from the Queens of the Stone Age-cum-intense blend and moved towards (a song) that brings more depth and darkness into the agenda – perhaps artists like Placebo and Smashing Pumpkins are more evident. As I say with regards influence: they are just spices and flavouring rather than the majority; the trio knows the importance of originality. Oh So Hard has the same straight-ahead attack of their E.P. work but goes through stages and seems more developed. The song shows how much their live experience has fed into their recording. Completely engrossing and packed with details, lovely little asides and nuance: the sound of three musicians hitting their peak and stepping up. Their E.P. was a terrific five-song work that has a variety of lyrical inspirations and colourful riffs: plenty of fantastic performances and wonder. Oh So Hard could easily sit on the E.P. but sounds like it is Gold Phoenix 2.0. It could be the sign of a new stage for them and fresh influences in their sound. Whatever the trio has planned, it is great to hear them productive and not standing still. Not content to just continue what they did on their E.P.: Oh So Hard proves how amenable and malleable Gold Phoenix are. Throwing another biblical riff into the mix: the band manages to emphasis the harsh emotions and stress with one of their most compelling instrumentals yet. It is though the strings represent the tangled and painful feelings inside; the stress headaches and racing heartbeats. Guitars yowl and strain; they stretch and race – so many different sides that bring life to the song and keeps the listener hooked and imagining. Not your simple, knuckle-dragging riff: Gold Phoenix have expended time and thought and come up with something quite special and multi-layered. Oh So Hard is just shy of six minutes, and as such, some might see it as over-ambitious and long. That would be the case were the band not up to the tasks and the lyrics were too vague and stereotyped. In fact, the track is instrumental-heavy and spends a lot of time telling story with strings and percussion. After the intriguing and curious first verse: the boys open up the taps and go on the charge. You are dragged into the performance and the impressive kinship of the trio. Guitars are fierce but agile; bass leading and tying each element together; percussion sturdy and meaty.

PHOTO CREDIT: Brennan Woollands

It may be a bar-set song or a date: our lead comes back in and reveals more pieces of the puzzle. The girl is drinking red wine (or both) and caught in each other’s web. Furtive glances and sly smiles are coming out. “Your place or mine?” is the question posed and you can feel the heat rising. Maybe it is an ill-advised ‘liaison’ about to occur but one that our hero is not refuting. It is hard resisting such a woman and something we can all relate to. It seems like mistakes have occurred in the past and the two have gone through the doldrums. Maybe that bond and connection between them is so strong they fall back into bed. It seems we “burn gasoline” as it’s said. That can be taken one of two ways. The combustibility and unstable nature creates possibilities of fire and explosion- harming others and ravaging everything around them. That suggests a rather flammable and harsh relationship that does not seem to benefit anyone – just scold and affect those outside of the lovers. On the other hand, gasoline propels the internal combustion engine and creates well-timed sparks in an engine – me being a motoring bore. Because of that, it seems like this love is productive, necessary and life-enhancing. You cannot listen to Oh So Hard without thinking of sex and a hungry desire. The title itself suggests engorged double-entendre and raw passion. Lyrics are kept quite simple and honest but get the listener wondering and guessing. Each line seemingly has double-meaning and does not reveal itself too easily. The hero is the ghost in a machine and almost like he’s having an outer-body experience. I mentioned how the vocal seems quite faded down in the chorus but that adds to the effect of the song. Were the song title to be delivered too sharp and angrily then it would not be as effective. By leaving it quite drugged and tired it emphasises the pure confusion and pain our man feels. Like the conclusion of verse 1: the next verse is followed by another gritty riff that keeps the story going. The verses suggest sex and imminent togetherness but never fully revealed and exploited. The composition goes for the gut (or bone) and is the sonic representation of the passion and flirtations. By the end, you wonder how things worked out between the two and if they got into things too deep. It is clear there is past and history that has caused scars and torment. Unable to resist and listen to his mind: our man is following his gut and embarking on something quite dangerous and compelling. Gold Phoenix keep things simple and intriguing in the lyrics whilst creating a composition that has complexities and multiple shades. The trio has crafted another stunning song and one that is sure to get the live crowds jumping and together. Oh So Hard would suit a larger venue and one imagines thousands moving and singing along to the chorus.

It has been long-overdue coming to Gold Phoenix, so I am glad I finally got there. Being a local band, there is no real excuse to overlook them and there are many reasons why they will become a mainstream proposition. In a sea of Rock-inspired bands: you are always looking for that act that shines above and distinguishes themselves. The trio has been travelling the nation and bringing their music to a variety of audiences. The future is looking assured by they know the graft they have to put in. Every modern band, unless you are in the mainstream, tirelessly works and gets themselves out there. It is impossible to arrive in music, release a few songs and has a record deal fall in your lap – unless you are biblically good. As such, the promotional side of things can take over from the creative one. Touring and the demands of the road have swallowed so many bands. It is a harsh and severe industry that demands its players be resolute, thick-skinned and fit. If you arrive and assume the odd gig will get you into the public consciousness then you are in for a shock. Gold Phoenix know the demands in front of them and are responding with plenty of spirit and ammunition. Gigging across the U.K.; there is no stopping their juggernaut right now. The fans and crowds are responding and there is a great buzz surrounding the trio. Of course, it is a tiring and draining process and the guys need their downtime and relaxation. Oh So Hard is going down well and getting a lot of love right now. Hardly shocking when you hear the song: that gives them another live gem in their treasure chest. Where do the lads go from here, then? Well, there is going to be more touring throughout 2016 and they want to capitalise on their recent form and reception – getting as many gigs as they can. As the year ticks to a close, they will be looking at what 2017 has in store. I have not heard any rumours of an album but you feel the boys have an L.P. in them. Knowing the work that has come before – including their eponymous E.P. – one feels the lads might look at another E.P. next year. Perhaps a full-length record might be too costly and there are not enough new songs to put on there. Oh So Hard would be a great lead-off track to any E.P., so it has to get you thinking. That will be down to them but exciting to see what next year holds for them. In their career so far they have played some great gigs and conquered quite a lot of ground.

PHOTO CREDIT: Brennan Woollands

There is a lot of brotherly love and bond in the Gold Phoenix camp so you know they will go the distance and last many more years (often a curse but I can feel it). That desire and hunger has already seen them accrue a solid fan-base and talked-about in fond tones. Although they are inspired by the likes of Queens of the Stone Age, Placebo and The White Stripes: it is their individual, gold brand that stands in the mind. They work hard on their music and have exceptional musicians in their ranks. It would be encouraging to think they can go onto to get international dates and carve some influence across the U.S. and Australia. Maybe it is money that is the issue as I feel there’s definite demand and audiences that would eat their music up. For now, their touring is a bit more modest and they are making sure they put their songs out in the ether and pick up invaluable live experience. I opened the piece by looking at Rock and whether it is on life support. There are a good many bands that try to write hooks and riffs and, finding they have nothing, copy someone else’s. Those bands that are adding fuel to the debate – and those who think Rock is dead – are muddying the water and doing a disservice to the genuinely great bands that are keeping the spirit alive. Of course, Rock is not dead and has plenty of life left in it. I feel the real issue is the lack of originality and the easy temptation to copy a band in order for vicarious success and fandom. We often underestimate how difficult it is writing a hook or coming up with a compelling three-minute jam. Bands that have true talent and guts have patience and know the moment will come: they do not rush their music and have a resilience and faith in what they do. Too much fear and impatience rules modern music. Perhaps the consumer is too impatient and fickle and will abandon an act if they do not keep cranking out great songs. It is a hard debate to settle and one for another day. I just know the drama and swagger of Rock is not dead but definitely needs to proffer its finest examples. Gold Phoenix are one of those bona fide bands that have started promisingly and have many years ahead of them. Battling and slogging it out to get their music heard: their sheer work-rate and passion for what they do will find them rewards and mass appreciation. Oh So Hard is a typically impressive cut from the boys of the Deep South (of Surrey). Aside from their cowbell-appreciating, cider-swigging, pig-tipping (maybe me going to the hillbilly cliché well) antics: plenty of music will arrive from the trio. What form that takes is up to them but many eyes are on them right now. Given the fact bands like Royal Blood are working on new material: there is a hunger and zeal to hear like-minded, similarly hard acts fill the (temporary) void. If you have not discovered the beardy brilliance of Gold Phoenix then you owe yourself to get involved and latch on. Building a solid local reputation: they are not going to be confined for long; their legacy and abilities will resonate across the country and abroad. Oh So Hard is a song-title with many meaning, but at its heart, the raw energy and powerful aftershocks stand out – just how intense and commanding the trio is. If you think Rock is under palliative care…

I know a three-piece that can bring the genre empathically back to health.

[soundcloud url="https://api.soundcloud.com/tracks/274532205" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

_______________________________

Follow Gold Phoenix

 

Official:

http://www.goldphoenixband.com/

Facebook:

https://www.facebook.com/goldphoenixband/

Twitter:

https://twitter.com/goldphoenixband

Instagram:

https://www.instagram.com/goldphoenixband/

SoundCloud:

https://soundcloud.com/gold-phoenix-1

FEATURE: Inside Lark Recordings

FEATURE:

 

 

Inside Lark Recordings

________________________________

 MANY people assume, when thinking about new music, that the best...

and most worthy artists are exclusive to the city. We forget how many great artists and studios are available locally - supporting some wonderful music and stars of the future. One such studio is Lark Recordings. Based in Surrey: I was afforded the opportunity to visit them and gain an insight into the work they do - meeting the people that produce the music and support the artists (that record there). I was fortunate to chat to Producer/Owner Andy and  Marketing Assistant Elena - and the fantastic Jacqui Brown.

____________________________

ABOUT LARK RECORDINGS

“Lark is a digital content company that produces audio and video products for global distribution via all major digital music and video outlets including iTunes, Amazon, Spotify and YouTube.

We own a portfolio of digital labels that specialise in curating albums and playlists by combining new recordings with strong catalogue material across Pop, Rock, Classical, Jazz and New Age genres. We also operate Lark Studios, a high quality audio and video recording facility in Surrey.

Founded in 2007, our team has over thirty years experience in the recording, production, music and entertainment business. Our team are experienced in all aspects of sound engineering and music production from recording intimate acoustic sets with bands such as The Stereophonics, Nick Heyward, Everything But The Girl, The Manic Street Preachers and Squeeze to classical recordings and staging and recording ‘Party in the Park’ over a period of many years.

We feel very lucky to have an experienced team of engineers and producers who have worked with renowned artists across a wide spectrum of musical tastes but are equally passionate about working with the fantastic array of local talented community and youth groups”.

 

Landa at Lark

A HISTORY AND LOOK INSIDE LARK RECORDINGS

I got the opportunity to chat to studio Producer/Owner Andy about how Lark Recordings got started. He explained how the studio has been running for eight years; three years in its current location in Artington.

Helping to builds careers up; Lark Recordings help artists “gain a following” as Andy explained; a way for talent young stars to gain a foothold and get valuable experience. With regards the range of recordings/genres that have been laid down in the studio - everything from Classical recordings to Pop has been recorded at Lark.

Andy explained how much great local talent there is throughout Guildford and Surrey - Lark Recordings is a way of promoting them and ensuring they have recording facilities and expertise available at their disposal. It is not just a case of artists coming into the studio, recording their music and going off into the world. The guys at Lark Recordings help musicians get their songs just right, but it doesn’t stop there. It is expensive to rent in Guilford, as Andy explained, which can put artists and people off - the reality of living and performing can be a daunting balancing act. Lark Recordings is an affordable and supportive space: Andy, Jacqui and Elena (who I will introduce later).

EQUIPMENT

“Our studio is based around a 24 channel analogue Allen and Heath (GS-R24M) desk with a selection of analogue outboard equipment including:

Microphones: Nuemann U87, SE Z5600 Valve, ElectroVoice RE20, Avantone CV-12, SM57s, SM58s, Sontronics Halo, Shure Beta 52, SE GM10, Shure PG48s, matched pair Oktava MK012, SE X1.

Pre-amps: Trident Series 80B, dbx286, Focusrite Liquid Saffire, Allen & Heath.

Analogue Outboard: Urei LA4 Compressors, Thermionic Culture Phoenix Valve Dual Channel Compressor, TC Electronic Finaliser, DBX channel strip, TL Audio 5013 Ivory Dual Channel Valve EQ, FMR RNC1773, Joe Meek MC2.

We run both Logic X and Pro Tools 10 and our plugins include: Melodyne, Waves Gold Bundle, PSP Vintage Warmer and Old Timer, Slate Digital Virtual Channel, Isotope Ozone 5 & 6, RX 3, Nectar 2 and Stutter Edit.

In addition to our studio, we have a 24-track digital mobile rig for recording in any venue”.

Chelsea Hart

ARTISTS RECORDING AT LARK

When at the studio; Andy gave me an insight into the musicians that come through the doors. I was curious to know whether it was unfair areas like Guildford get overlooked when it comes to great musicians - as opposed to the larger cities.

Andy stated how the A.C.M. (The Academy of Contemporary Music) and the University of Surrey are producing so many great young musicians - those that can more than rival the best the cities provide. In conjunction with high rent prices (and cost of living) is the comparative lack of local venues - there are a few, Andy pointed out, but not a hugely thriving scene.

Bars like The Star Inn and the legendary Boileroom provide a platform but there not a huge amount. I got a chance to listen to one local artist, Meg Birch, and a couple of songs she had performed at the studio. The single Feel Alive has Country vibes and a real flair of Nashville: one of the slickest, catchiest and most impassioned Country track I have heard all year. If you have not heard her music: she is an artist that is well worth a look. Her E.P. is out in October but will be proceeded by a single release next month. A huge, soulful voice - that recalls Adele and Amy Winehouse - she is one of the most exciting musicians playing locally.

Meg Birch has recorded at Lark as a solo artist and as part of Megana

Karizma Duo is another top act that has recorded at Lark. They have a terrific repertoire of songs and turn tracks inside out. Andy explained how songs can be saturated and how hard it can be to successful cover a song. Karizma Duo reinvents songs and gives such a new spin on them- making them sound fresh and original.

Karizma Duo

Chelsea Hart, Chris Snelling and Alice Lamb are a trio of names Andy tipped to me: to be honest; there is a long list of fantastic young musicians that have recorded at Lark; all demonstrating what a variation of talent is performing across Surrey. Other stunning upcoming acts like Elena Ramona, Max Tanner and Chess Galea have recorded at the studio and created some of the finest moments there.

 Alice Lamb is a young artist to watch very closely

ALWAYS THE SUN

Lark Recordings are involved with the inaugural Always the Sun festival in Stoke Park, Guildford.

“Lark Recordings is thrilled to sponsor a buskers’ stage for up and coming local acoustic artists at the Always The Sun, Guildford’s first Community Music and Arts Festival to take place on Stoke Park on 10th -11th September”.

Andy explained how (the benefit of the festival) is that it is “what musical festivals for the communities should be about”.

Always the Sun will bring together established acts like Mystery Jets and Tusks but provide exposure for local talent. The Buskers’ Stage is a way for Lark to become directly involved; promulgate and showcase artists they have worked with; some of the best musicians performing in the county. It is an affordable festival set up for the community and those who live in the area.

COSTS AND SERVICES

Studio Hire with Engineer

Studio and Live Room with mirrored wall suitable for up to 8 musicians

From £50 per hour.  Daily rate from £250.

Dry Hire

From £25 per hour.

Rehearsal Space

During non-peak times – £35 per session of up to 4 hours.

Peak times – £25 per hour.

Mixing/ Mastering

Have your track mixed through our outboard analogue EQs and compressors

From £50 but please get in touch for a more detailed quote.

Custom produced backing tracks

We can tailor a package to meet your needs and budget.

Chris Snelling is a regular face at Lark Recordings

YouTube video studio

Our live room is set up for video production including green screen, lighting, cameras and director from £25 per hour.

All prices plus VAT at 20%

Discounts available to students and non-profit organisations

Music Production

We’re able to offer access to a range of music producers who can work with you to produce recordings ready for distribution and sale. Our aim is to get an understanding of your music, direction and ambitions and then introduce you to a suitable producer who can help you capture your sound.

Musicians and Backing Tracks

We have a team of musicians we can call upon if you don’t have your own band and would like professional accompaniment or a backing track, from a single guitarist to a full band in any style.

CD/Digital Packages

We can provide a full 360-degree recording/distribution/publishing package. We are able to take care of recording, mixing, mastering, album artwork, assigning ISRC and barcodes, digital distribution to all major download and streaming services, registering your works with collection societies and publishing.

Soundtracks and Music for YouTube Videos

"We have an extensive catalogue of fully cleared production music including specially composed repertoire. Our albums of material include Dance, Chill out, Documentary, Classical and many more.

We can also produce bespoke compositions for all your needs: whether its background/mood music for a television programme, youtube video or film, advertising, social media activity or location music such as specially curated and composed playlists for your workplace or business".

In this photo: Elena Ramona

BEYOND THE MICROPHONE: MARKETING AND PROMOTION

After speaking with Andy and getting a rare chance to listen to recordings; an insight into the daily life at Lark - I got the opportunity to speak with Marketing Assistant, Elena Ramona. She has not only recorded at Lark but she works at the studio and helps market artists - she has been there for almost two years now. In addition to working at Lark; Elena works in retail and brings those customer skills to the role. She has a lot of passion for her work and talks keenly about some of the acts that have come through Lark. Elena told me how Josh Franklin (one of the artists to record at the studio) has had a couple of tracks appear on Love Island. Name-checking Meg Birch and Karizma Duo: Elena has edited videos for the acts and talked fondly about the artists.

Elena became involved via A.C.M. - she found Lark via the A.C.M. Industry Link (when she was a recording artist in the studio at A.C.M.). Elena was able to come to Lark and tie together her experience in music and retail. She is very much a people person and finds the job a “good challenge”. In the future, Elena is keen to expand and work more in marketing - working at Lark is a great experience and has, in her words, “helped me with my own promotion; seeing from different perspectives how you can promote your own stuff”.

Always the Sun will see Elena promote the competition and work closely with the artists (appearing on The Buskers’ Stage).

 Chess Galea has recorded several times at Lark

THE LARK PLAYLIST: ARTISTS WHO HAVE PERFORMED AT THE STUDIO

[youtube https://www.youtube.com/watch?v=c0g6tXfgsvw&w=560&h=315]

[youtube https://www.youtube.com/watch?v=OdXZ2V_otAQ&w=560&h=315]

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

[youtube https://www.youtube.com/watch?v=y8QJqlurQj8&w=560&h=315]

[youtube https://www.youtube.com/watch?v=c_jZLjkGi8Q&w=560&h=315]

[youtube https://www.youtube.com/watch?v=-XsuW7x9s4o&w=560&h=315]

[youtube https://www.youtube.com/watch?v=xatwvK0Q-U4&w=560&h=315]

THE FUTURE: GOING FORWARD

Andy, Elena and Jacqui are excited about the future for Lark Recordings and the musicians coming through. It is a studio space filled with charm and distinction - a comfortable, affordable and hospitable space. There is a warm, supportive vibe at Lark and a real passion for discovering new talent.

I got to speak with Managing Director Jacqui, who has great enthusiasm and passion for the studio and the musicians that have recorded there. We get too obsessed with the big cities and the musicians there and forget what a chest of local talent is available.

Visiting Lark Recordings has not only given me an insight into the range and depth of musicians around Surrey - it has provided the opportunity to discover how a studio works and what is involved with recording/promoting an artist. It is well worth keeping your eyes on the artists that come through here - some big names to watch for the future. The team who work there are filled with enthusiasm and dedication for what they do - this is evident the moment you walk in. My time there was invaluable and gave greater insight into the workings and energy that goes into a recording studio. Against the backdrop of expensive, city-set recording facilities; it is wonderful discovering somewhere charming...

 NESTLED in the heart of Surrey.

__________________

FURTHER LINKS

Official:

http://larkrecordings.com/

Facebook:

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

Twitter:

https://twitter.com/larkrecordings

YouTube:

https://www.youtube.com/channel/UC3lGArTLjp25ytI3teRu55A

Spotify:

https://play.spotify.com/user/larkrecordings?play=true&utm_source=open.spotify.com&utm_medium=open

TRACK REVIEW: The Trend - Going Under

TRACK REVIEW:

 

The Trend

 

 

Going Under

9.2/10

Going Under is available via:

https://www.youtube.com/watch?v=9dB1Nz4rge8&app=desktop

ORIGINS:

Glasgow, U.K.

GENRES:

Rock; Indie; Alternative

RELEASE DATE:

17^th January 2016

The E.P. Something to Shout About is available at:

https://soundcloud.com/somethingtoshoutaboutep

__________________________

ONCE more, and without resorting to a mock Scottish accent, I…

am looking at a much-rated Glasgow band. I will come to the band themselves anon but it is prudent to reflect on the great music that has emanated from Glasgow; the difficulty of creating Indie/Alternative songs with originality; a bit about expansion with regards music tastes and areas that are burgeoning. As I am back into Glasgow; it is prudent reflecting on all the fantastic music that has come from the Scottish city.  I guess, when we look at Scottish music, we often think of Glasgow and Edinburgh: forget that there are a lot of other wonderful towns/cities with terrific musicians. It is not down to laziness that we herald Glasgow and its music – just taking a gaze back to history makes you realise how many of the best British bands of the last few decades came from here. Franz Ferdinand – if they are still making music? – call Glasgow home and perhaps are one of the best examples of a great Post-punk/Indie band with an arty, slightly pretentious twist. There is something both common and elitist about the group. One of those ‘00s bands that swept you away with anthemic songs but got you thinking – a lot deeper and more compelling than most of their peers. Orange Juice, a bit older but same sort of aesthetic, are another terrific Glasgow band. Many, particularly of my generation, pass them by but you cannot underestimate how vital and influential albums like You Can’t Hide Your Love Forever (their debut) were. Leader Edwyn Collins remains one of the most consistent, unique and intelligent songwriters of his generation. Primal Scream, one of the titans of the ‘80s and ‘90s. Their sophomore album, Screamadelica is a classic creation that has influenced so many bands and remains one of the greatest albums from any period. You can add Deacon Blue to the list of great Glasgow bands. Not quite as bracing and experimental as other Glaswegian groups: they had a knack for crafting accessible Pop with huge choruses and heart – songs Real Gone Kid and Chocolate Girl are familiar to all. Other Glasgow legends like Simple Minds, Marmalade and Belle and Sebastian are definite stalwarts – among the finest bands from the past twenty years.

It is not just established bands that have made Glasgow such a wonderful city for music. The Yawns, been playing for years but still relevant, are a group that created bedroom-made, D.I.Y. albums and showed you did not need industry cash to make music happen. 1990s are led by John McKeown, have plenty of hooks, wit and native narrative at their disposal – a group that are distinctly Glaswegian yet have a universality and everyman quality to them. Like the aforementioned, and not brand-new-new, The Delgados  were/are an intellectual band with a bookish edge. A band who put huge imagination and intellect into their music – they went on to establish their own record label. The Deathcats put Glasgow in the consciousness with their head-spinning, electric saw riffs and reverb-heavy gems. Instant, urgent and laced with plenty of attitude: another band that shows the variation and multiple sides to Glasgow. Perhaps the likes of Happy Meals and Catholic Action are more relevant. The former fuse minimalistic Disco vibes with French vocals of Suzzane Rodden – alluring and sexy but instilled with groove, dance and beauty. Catholic Action, aside from their awesome name, are masters of the hook: capable of dragging the listener in and seducing them without breaking into a sweat. That is just the tip of things really.  Neon Waltz are an upcoming six-piece who have ties to Glasgow but have toured throughout Scotland. Honeyblood, Paws, and Strange are a Glasgow trio worth money, time and focus – all capable of being mainstream propositions for years to come.

The Trend fit into Glasgow pretty easily and have a distinctly local, read: anthemic, sound to them. I have listed quite a few bands: one wonders how many of them featured in the band members’ thoughts as youngsters. We often see a band/artist and what genres they play in and think we have them pegged. If they are an all-male Indie band they are all going to sound the same, for instance. It is narrow-minded to think every group will be predictable and lack necessary originality. I agree, there are so many groups that replicate one another or come across uninspired and predictable – sticking too closely to their idols or incapable of crafting songs with hooks, kick or any electricity. The Trend have a lot of similar bands playing near them so have had to work hard to forge their own path and stand out from the crowd. The boys have ample energy and passion which means their songs have anthem status and come swinging with instant hooks and sizzling guitar work. Our Glasgow band call for other bands to do something useful and meaningful with their platform: get up and say something new and purposeful. The boys can knock simple songs together but go deep when the mood calls for it – not your average one-dimensional band. Whether you are a fan of Indie, Alternative and Rock in general: you will be impressed and affected by the band’s musicianship and compelling connection. The music comes across as fresh and enlivening but has enough emotion and vulnerability at times – even the most crowd-pleasing and anthemic numbers do not merely reproduce what has gone before. It would be naïve to suggest the band have redesigned the wheel and are completely unexpected. Part of their appeal and popularity hinges on some familiar edges and embers of other bands. Comparisons have been made (among others) to Oasis at times. The same way the Manchester band could get crowds together and singing loud: The Trends are a group that pen universal songs that demand you get together and sing along. Memorability and catchiness are important commodities but can be cheapened by copy-catting your idols. The Trend take a sprinkling of some heavyweight artists but ensure their most prominent trait is a new and original sound – something that is distinctly theirs. In genres that have been accused or stagnation and homogenisation: it is pleasing finding a band that understand the need for originality and respond accordingly.

I will get to the Glasgow band’s work in a minute but wanted to look suggest people get out of preconceived comfort zones. I feel most of us, I am culpable, get used to certain artists and cities; do not stray beyond those walls and get into our own little rut. It is definitely worth getting behind home-based artists and supporting the local music community. Naturally, London gets a lot of exposure and is, as I see things, the British epicenter for music – the finest acts and biggest hitters reside here. Manchester and Liverpool get attention (not as much as they deserve) but our adventurousness and energy levels stop there – we often do not spend too much time digging any deeper. It is impossible to cover every town and city in Britain let alone the world – we have to be rational and sensible about this. I just mean there are some very obvious areas that are being ignored by large sections. I would argue Edinburgh should be on the list; Oxford and Bristol are productive and interesting; Glasgow certainly should be there. Often, our tastes and recommendations come from radio: following the tips and teasers they put our way. It might be like pulling Excalibur from a stone: one day we’ll get a website together that compartmentalises music by town/county but encourages users to spend time and find some genuinely unexpected music – from parts of the country/world we had not thought about before. Until that time comes (if ever it does) it is worth being a bit bolder and accepting the likes of The Trend are worth your time – imploring you to seek out more of Glasgow’s musicians.

Something to Shout About is their new E.P., and you get a full impression of where they came from, it is worth looking back at their earlier stuff. The E.P., as I will look at in more detail later, has great hooks and plenty of arena-primed songs designed for maximum impact and getting the crowds roused and lifted. Going Under has bristling, stabbing riffs and a swaggering mood. Reminding you of Artic Monkeys to an extent: something modern and Alternative-based; bringing together influenced from the north and Scotland – whilst keeping a distinct character and sense of self. You can hear those sorts of mixes in songs like Act of God. A warping, spacey opening leads to a racing arpeggio. The song tumbles and spoils out the gate and unleashes something fiery and determined. The kind of people that don’t know they’re born, as the lead attests, there is trouble brewing and something happening. The band ensures the song is provided maximum energy and electricity with a tight and commanding performance. Departing from your average Indie/Alternative fare: the lyrics go deep and you wonder what influenced them. Our hero looks at cynicism and problems around and wonders how things got that way. Whether directed to a government or ruling class; an individual that is blind to what is going on around them – a track that hits on multiple plains and gets you fascinated and addicted.

Falling Apart, recorded about 3 years ago, has that gritty and gravel slam to it. A fast-paced, Punk-influenced song: it was cut around the time of Act of God but does not stick too closely to it. Proving they have variation and different sides to their game: The Trend creates something fiercer that aims to hit the gut. Perhaps attesting domestic drama and a relationship falling apart: a song that swings and throws around but is controlled and nuanced. Every song The Trend plays is defined by their chemistry and incredible bond. The vocals are gutsy and intense – some of the lyrics get lost under the composition – but you get carried away by the sheer energy and catchiness of the song. Falling Apart is a song designed and aimed, once more, at festival crowds and for live audiences. It is hard to ignore them as a band because each track carries so such conviction, weight, and invigoration. Here, they have bits of Oasis to their sound but never come across too similar to them – merely employing them as an influence. Other songs like Free and Beauty Queen, recorded during the same time period, once more push their boundaries whilst retaining that core sound. Elements of ‘60s Power-Pop and Punk; Alternative and Indie: you get so many different shades and sides to the band. What stands out then, as it does now, is how different they are and gripping. I have mentioned that word but it seems very apt. So many modern bands are slight and weak when it comes to sound. The Trend burst from the speakers and grip you by the collar – bringing you into their world and taking you off their feet. Songs move the bones and get the voice singing proud. Having started so strongly, it would be foolish to suggest the band step it up and improve their game. Tactically, the guys have created (with Going Under) have improved on their foundations and sound at their very peak. In terms of sound, there has not been a huge leap nor did there need to be. What you notice is the production is slightly crisper and cleaner whilst the performances are sharper and more engaging. Perhaps extensive touring or new inspiration but the boys are intoxicating and expert; sounding like a group that has been gigging for decades now. Going Under is the centerpiece to their E.P. – and why I wanted to focus on it – as it assesses where they are now and what they are about. I wonder, given the material was recorded a little while ago now; if there will be anything new by the end of the year. You can hear the passion and energy in the ranks and just know they will keep building, crafting and producing exceptional songs.

I want to concentrate on Going Under as it seems like the truest and concentrated example of the E.P.’s themes, sounds, and shades. It has been released as a single, and has a video, so the boys have a lot of faith in the song. That faith is not blind and it is a song that signifies its dominance without much hesitation or foreplay. The bass and percussion unite once more and show what natural partners they are. Few bands lead like this and certainly never put the bass out front in their music – it is often left to work in the background and rarely gets the exposure it deserves. A tense and nervy start: The Trend keep it light but there is a definite element of danger and caution in the opening moments. Teasing, testing percussion gives anxiety and nerviness to the song; the bass adds to that environment and, without overloading the song and being too heavy, you feel the emotion build. Before long, the riffs break out and The Trend crack out their scintillating jams. It is hard to describe and define the riff but it has that definite classic quality and recalls the likes of Artic Monkeys and Paul Weller. Vibing from the spirit and essence of those stalwarts: The Trend create something instant and captivating. Before a single word has been sung: the music has said so much and the feet are moving; the brain is ready and the body is already invested in the music. Just after the percussion crackles and smacks again: you are primed for the first vocal offerings and just what direction the song will take. Our man is heading into the night (away from the light) and slipping away. You wonder what is being sung about as the lyrics have quite an oblique quality early on. Perhaps emotions have got the better or a romance has fallen away – maybe just a general feeling of losing control and not being who he thought he was. Ensuring the voice has plenty of meaning and conviction: it never runs away but remains focused and direct; ensuring each word can be heard and understood. Early songs from the band have suffered a little from clarity but here it is very clear and concise: the production values mean every note is understandable and not lost in the mix.

With any great band/song, there is that mystique and indirect charm to the song. You are left to come to your own conclusions early and draw your own impressions. The band joins their voices in the chorus and you are curious (once more) just what the song is looking at. Of course, there is a lot of fear and uncertainty from our hero – not sure if he is going to be okay and what the future holds. I was imagining a general malaise and struggle against the pressures of life. Not necessarily defined by creative or romantic abnormalities: it is a song that brings home the obstacles and realities of the modern-day existence. He is feeling the pinch and needs some relief and space; get away from the hurly-burly and find some comfort and quiet. I may be off the mark but that is what Going Under does: registers different interpretations in the listener and has a broad lyrical basis. At the point “of no return” and aware of his situation: the fascination builds and you cannot help empathise with the lead. Despite the vocal never being sad or affected – you just know that need for answers and salvation is burning. Before you get too invested; the band step in with that opening riff and give the song a break and chance for the band to come together. Whereas other tracks on Something to Shout About (title track for instance) are specific and make their intentions very clear: Going Under is always an enigma and casts its net pretty wide.

The hero is moving on and looking at thought racing away; at the back of the mind and niggling him. Nobody is “safe anymore” and you feel the song is looking at general society and a building danger. With the way things are going – the general state of affairs – few of us are truly safe and secure in our lives. Perhaps Going Under reflects that dread; the lead is staying in the hole and is struggling to come out. Despite the negativity and repressed lyrics and sense of dread: the song is never bogged down or a hard listen. The sheer spirit and resilience of the band keep it light, defiant and engaging throughout. Like classic Punk and Rock bands: they are in a crap situation but are damned if it going to define them. The Trend’s determined spirit and combustible performance puts the song in your head and compels you to sing along – or move your feet at the very least! Working around the central riff and all its alcohol-fueled, swaggering assuredness – the band lace in some lovely touches and riffs. With the percussion and bass continue to drive the song and give it an accelerated heartbeat: guitars allow some colour, vibrancy, and sexiness to strut through. Towards the end, the song has an optimism and sense of hope to it. The hero is finding his way home and seems to be in a better place. Perhaps disconnected from home and somewhere he is unsafe: that desire and endless spirit is in the mind and you are with him all the way. Going Under has a simplicity to it which will make it easy for fans to sing along and makes it accessible and direct. The words, despite their oblique touches, get you thinking and everyone will have their different views. The Trend are a band who always bring exceptional compositions to the fore and here is no exception. So many details come out and the central riffs are exceptional. If you want to be cheered and find a song that will put the smile on your face: Going Under does that and introduces one of Glasgow’s finest young bands in the process.

It has been good discovering another great Glasgow band. I am sure the city has plenty of incredible solo artists but it seems like the bands rule the roost. Few cities are synonymous when it comes to band concentration. That is not to say Glasgow is narrow and limited: if you look closely; there are plenty of solo musicians (duos etc.) that are making their presence known. It just seems Glasgow are well-stocked for bands and there is a lot of variability and choice. If you prefer your music band-made then you need to spend more time investigating what the city has to offer. The Trend are certainly one of the most exciting and hard-working; grabbing the attention of critics and fans – signaling themselves as potential mainstream stars of the future. It will be interesting seeing how they develop and what their plans are for the coming years. I have looked, at the top of the review, at the great artists that have come out of Glasgow. It is easy to be fixated with the likes of London (and what it has given us) but Glasgow’s legends cannot be understated. I am not sure what it is that differentiates Glasgow from the rest of the U.K. Perhaps a sense of community or a different way of life: greater performance opportunities for its musicians or a feeling of freedom and support. Whatever it is; many new artists are adding to a very solid and impressive foundation. Indie and Alternative are words thrown around a lot when describing a fresh band. I mentioned how those genres gained a reputation for rigidity and a sense of weariness – musicians perhaps not as original and impressive as they should be. There is some truth in that, but we shouldn’t assume every new Indie/Alternative band suffers that fate. It is a hard style to truly redesign and shine in - one of the most popular and defined by a particular sound and lyrical style. Luckily, The Trend manage to make something (potentially forgettable) stand in the mind and brim with personality and addictiveness. Critics and fans have pointed out what a proposition they are live: their studio prowess can be found throughout their E.P., Something to Shout About.

Something to Shout About has gained some great reviews and clearly strikes a public chord. The title track is a spiraling mesh of riffs and strings; it howls and burst with intention and spares no time in making an impact. It “don’t flow through our veins no more” and you know the band are talking about their contemporaries - bands that are not saying anything new and making an effort. They are afraid to say what’s on their mind and are playing things safe. Carried under the wave of anger and passion: the band is at their most together and meaningful. They are looking for something to shout about and a band they can rely on.  Drug-free and lacking Rock spirit: there is tepidness and fear among groups; nobody is going out their way to create something special and brave – not saying what is on their mind. The Trend attack with venom and show, ironically in the song, they are something to shout about. The composition is detailed and emotive. Bass shines and provides melody, grumble, and emotion; the riffs sparkle and bristle; psychedelic and explosive. Percussion notes pummel and make sure the song beats hard. Not your predictable or average track: it dies down and comes back up; there are diversions and asides; change of course and subversions of expectations. A classic call-for-action and rallying cry from the group. By the final notes, you are left with a smile but also compelled to think. Complete with wordless chants and a classic feel-good vibe: a perfect insight into the band’s mindset and artistry. Take Me Away is bellicose and avalanche right from the off. That percussion comes through and gets straight into the brain. Building with the guitar and bass: Take Me Away has a sense of smile and sunshine early on. Bright-hued and vibrant; little elements of ‘60s Pop, The Libertines, and other bands – whilst keeping The Trend’s definite sound solid and sharp. “I’ll never understand a word that you say” leads you to believe there is another look at society or other bands. Our lead wants to be taken where the skies are clear and wants to get away. If it is looking at a relationship or romance, then you can hear the boredom and dissatisfaction. The same conversations and routines unfolding; that desire to go somewhere better and different – escape the dull days and not return. It is an intriguing song that reigns clear and gets into the heart. The band, once more, shows their malleability and is less foreboding and intense than the title track. “Don’t want to see it anymore” declares our man: you speculate what is being referenced but just know he is not going to stick around.

Tonight begins, as one might hope, with an intriguing compositional build. The percussion spatters and patters, while a growing, groaning riff starts to stomp and make its impressions felt. An odd combination that works well for the song. In terms of sounds, you get the sense of early-career Oasis and their anthemic tracks. Guitars and vocals have an element of the Manchester band but the lyrics very much play into The Trend’s camp. Unlike other tracks, there is a sense of romance and hope and you get affected by the purity and desire in the performance. The soul is being nourished and the blood is rushing: the hero is embracing Rock and music; feeling alright and pushing on. Others say he is out of his depth and battling the waves – curious to find out why that is – but that sense of defiance and rebellion comes out. Music is the focal muse and perhaps the salvation against a backdrop of uncertainty and struggle. His life is falling apart but he has music and surrendering to Rock and all its beauty. It is a subject matter that has been covered but not quite the same way as here. A perfect way to complete Something to Shout About. It is a song that will definitely resonate with audiences and you can see people chanting it and joining together in celebration. Tonight is not a dead-ahead and one-dimensional song. Going through stages and having a sense of evolution running through it: you are kept on your toes and always surprised; the band is masterful when it comes to throwing curveballs. Something to Shout About lives up to the title track’s desires and necessities. That song looks at bands who say nothing new and do not get the mind engaged – too timid and cautious when it comes to subject matter. By addressing that subject head-on, the Glasgow band show they are not like them. Never sticking with romance themes and everyday tropes: the E.P. covers more important subjects and hits you much deeper. The title track makes you think and makes a point. It could be arrogant to write a song like that and would be a disaster if The Trend do not live up to their lyrics and differ from their peers – luckily they do and make their point know. The entire E.P. is packed with gems and potential future anthems. I know the songs have been played live and imagine the crowds are lapping them up. One of those bands that tie together some familiar bands – Oasis for one – but never copies them; merely lace in some of their magic; they are one of the freshest and most distinct groups of the moment. Exceptional musicianship and comradery break through and every song has its own voice and will stick in the head for a long time. I know the boys have been touring hard and getting out there. Those dates, with a terrific E.P. under their belt, is just…

THE start of many great gigs.

[youtube https://www.youtube.com/watch?v=9dB1Nz4rge8&w=560&h=315]

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Follow The Trend

Facebook:

www.facebook.com/thetrendglasgow

Twitter:

www.twitter.com/thetrendglasgow

SoundCloud:

www.soundcloud.com/thetrend-1

FEATURE: The August Playlist: Vol. 4

FEATURE:

  

The August Playlist: Vol. 4

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PERHAPS it is a testament to unexpected single drops....

and great albums out this month: August has turned into one of 2016’s best months for music. I thought I’d be wrapped up with three volumes of The August Playlist – I wouldn’t be surprised if I got juice out of a fifth. There have been a few great singles out; some terrific albums, and to celebrate the anniversaries of Jeff Buckley’s Grace (22-years-old) and Blur’s Leisure (25-years-old) – a couple of classic tracks in there.

Enjoy...

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Frank Ocean (ft. Beyoncé) – Pink + White

[youtube https://www.youtube.com/watch?v=erCVuYYfbf8&w=560&h=315]

Empire of the Sun – Two Vines

[youtube https://www.youtube.com/watch?v=T48WTcC243o&w=560&h=315]

Chromatics – Dear Tommy

[youtube https://www.youtube.com/watch?v=nRTLABXixD0&w=560&h=315]

Grouplove – Traumatized

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

Dua Lipa – Blow Your Mind (Mwah)

[youtube https://www.youtube.com/watch?v=WXPjF7vMYsE&w=560&h=315]

Kate Tempest – Don’t Fall In

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

Jimmy Eat World – Get Right

[youtube https://www.youtube.com/watch?v=vMj7baqFV3M&w=560&h=315]

Glass Animals – Season 2 Episode 3

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

Jack Garratt – BYSKB V2M2

[soundcloud url="https://api.soundcloud.com/tracks/276874138" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Ezra Furman – The Refugee

[soundcloud url="https://api.soundcloud.com/tracks/263214217" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Bastille – Good Grief

[youtube https://www.youtube.com/watch?v=ZWCB3hpJDXM&w=560&h=315]

Thom Sonny Green – Beach

[youtube https://www.youtube.com/watch?v=hc-4E0sY09g&w=560&h=315]

Cassius (ft. Ryan Tedder & Jaw) – The Missing

[youtube https://www.youtube.com/watch?v=DreeCbl8s9E&w=560&h=315]

Crystal Castles – Sadist

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

Jeff Buckley – Grace

 [youtube https://www.youtube.com/watch?v=A3adFWKE9JE&w=420&h=315]

Blur – There’s No Other Way

[youtube https://www.youtube.com/watch?v=LJzCYSdrHMI&w=420&h=315]

September is upon us next week and I can just smell the paint drying on some fantastic albums and musical revelations. Frank Ocean has dropped Blonde and took everyone by surprise. Next month, Jamie T. looks set to make another huge statement – Trick is already gathering some rather heated praise and bold proclamations. Of course, there will be singles released at a moment’s notice and who knows what: another exciting month beckons us.

FEATURE: Electric Vinyl

FEATURE:

 

  

Electric Vinyl

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SO what is the concept behind the idea?

I have been inspired by some developments in music recently. Hearing about Laura Marling’s new series, Reversal of the Muse, has got me thinking. That interview/discussion concept brings women together (musicians mainly) to discuss the lack of women behind-the-scenes in the industry – how few engineers, producers there are, for instance. It is a much-needed spotlight on an issue that, has until recently, been cloistered and hidden in the shadows. If you really think about it: how many women are employed in studios and away from the microphone? Perhaps many assume (these jobs) are male-dominated and there’s never been a problem with that. It may not be the case there has been deliberate discrimination but not enough is happening to encourage women more – reduce stigma and barriers and make changes.

We often focus on musicians and what they do without giving kudos to those who work away in the background; making sure the songs get to us. Whether D.J.s, promoters or journalists: these people are often overlooked and do not get the recognition they deserve.

There are not too many (if any) web series that brings together these people. It would be great to see a fantastic promoter celebrated or hear the insight of a London D.J. – sitting alongside a musician and trading experiences, insight and revelations. Maybe this sort of things happens in daily life but often takes the form of short interviews or online interviews. I cannot recall ever seeing an interview series like this: one where musicians and the unsung face one another and give us a glimpse into their day-to-day life. It got me thinking about a concept: Electric Vinyl was what came from it.

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TITLE/EPISODES

Electric Vinyl: When (    ) Met (   ).

EPISODES PER SERIES

10 per series; 1 hour per episode.

LOCATION

For a sense of centrality and ease-of-access, it would be set in London. In terms of locations and accessibility, it would make sense. I hope to recruit guests from areas like Brighton and Manchester but London seems like an idea centre. Most of the innovators and upcoming musicians (in Britain) are based in London so it makes sense to come from the capital. I have not decided what part of London it would be based and that is open for discussion. It seems like east and central would be best: perhaps somewhere like Shoreditch or Hackney, but once again, it depends on available sites and costs.

SET

My feeling is to give it a bar setting but not having it crowded and busy. The aim is to have an intimacy but a general feeling of conviviality and comfort. Inspired by music-themed bars – hope to set one up myself – the décor and furniture is going to be important. The guests would sit on a chair each but they would get to select the furniture. They could have a bar stool or beanbag; a sofa whatever they choose – a chance to create a bespoke environment and give the set a sense of character and individuality. It would be a basic concept and have the interview subjects sat opposite one another. The name Electric Vinyl would be a bar name, in essence. We would see a sign – perhaps neon or painted – that is near the bar and there might be a few people in the background – a bar person or patrons (only a few) to ensure there was a bit of motion. While the bar is in the background, in the foreground we would have an electronic jukebox to the right – one that would play guest selections and give the ‘Electric’ side flesh. On the other side would be a turntable/record player (‘Vinyl’) where the guests’ vinyl choices will be spun – more on that later. Because there will be solo artists/bands coming together; a small stage would be there – opening and closing the episode with live performances. The filming dynamic would change to become more active and mobile – the stage would be located opposite the bar.

LENGTH AND FILMING STYLE

Each ‘show’ or interview would last for 60 minutes (the Happy Hour) – that might increase if the demand is high. It would be a filmed series that keeps things simple but has a sense of style to it. We would have a few cameras: one that shoots proscenium; another one that is mobile and films guests’ faces/reactions and another that would be mounted near the ceiling – an overhead view of the location and people coming and going. There would be a mix of colour and black-and-white to give it a modern and vintage mix – as befits the title. Varying between static shots and close-ups: it would aim to give some fluidity and motion to things but never compromise or distill the interview; always emphasising mood and emotion over flair and needless flash. In essence, the aim is to give it a professional feel and differentiate it from other examples on the market.

START OF EPISODE (0-5/10 MINUTES)

I am hoping there is a small animated opening sequence as a title page. It would see a series of well-known and new musicians interact in a comical sequence and would head towards Electric Vinyl. There would be a theme but this would most likely be instrumental and have a funky/upbeat vibe – perhaps meshing Blues, Rock and Hip-Hop. From the sequence, it would then open on the set/bar and the empty chairs. The two guests (either two people or band and another guest) would come from the bar and shake hands – set their drinks down and sit. Almost like Made In Chelsea (not in a bad way) there would be light music playing – a series of songs would play each edition – and the guests' names would appear and their title.  Before they get down to talking they would introduce their drinks. Each guest can have any drink they like but there is a full cocktail menu – ingredients and name would appear on the screen. It gives the episode a sense of pub chat but, again, is quite stylish and modern – cosmopolitan and homely at the same time. Nothing will be scripted and the only thing interviews plan is their song choices and music. From the off, it is encouraged they be relaxed and chat. The opening couple of minutes would see them introduce themselves and what they do (pieces to camera) before they open things up with casual chat. As they are getting into things, their food arrives: usually a small dish/starter but delivered to them. Of course, they are discouraged from eating whilst talking but it gives it a more social feel.

MAIN BODY OF EPISODE (5/10-40 MINUTES)

The interview series will mix musical choices/inspirations and deep topics together with insights into the music industry and casual chat. Every edition will have a set format and give the guests an opportunity not only to discuss what they do and highlight important issues but introduce new songs (they are loving) and the music that inspired them.

The opening ten minutes or so would see each guest talking about what their job entails and how they got into it – links and information would appear on screen like websites – and their day-to-day life.

From 10-20 minutes the guests would choose a new song/artists that they are listening to. It would either be an unsigned artist or mainstream but essentially be their Brand New Headies. Every segment would have a music slant/pun and this would be the first one. We would then either cut to a music video or hear it on the electronic jukebox. After each song, there would be a link (social media) to that artist and any necessary information.

After the 20-minute mark, there would be a section about their favourite music. Throughout there would be a chalkboard menu behind each guest (at bottom of shot in front of the furniture) and each person(s) would get to talk about their favourite albums/songs from their childhood; their favourite song of all time . It is, in essence, an insight into that person’s musical upbringing and the music that matters most. The songs would be played on the jukebox and each guest would take turns. As each song plays the title/image would come up. If there is a music video then we would cut to that, but if not, the cameras would move around the bar/set or capture the guests’ reactions. After each song ends, and before the next, they would say why it is relevant to them.

From 40-50 minutes there would be discussion about a topic that is relevant to each. Whether it is women in music or mental health; the urban scene or lack of finding for new artists – a chance for the guest to discuss with one another.

Throughout each discussion, there would be relevant links to appropriate websites (mental health charities etc.) and tweets (followers letting their voice contribute; more later).

The final 10 minutes would be a blend of social media questions and vinyl choices. Of course, and like all segments, this would appear on the chalkboard. The questions come first and would be collated from Twitter and Facebook. Before each edition is filmed, a week’s notice, you can pitch questions to each guest – they can be serious or silly. For bands and artists, it might be aimed at touring and new records; for D.J.s and promoters it would be geared towards their influences or questions about their jobs. The questions would appear on screen (there would be one to the side of the set but it would appear on the screen large) and a way to get others involved. The last segment would be a vinyl choice for the guest. It can be a vinyl that means the most to them or sounds great on that format. It would be loaded onto the record player and maybe there would be information about that song and facts.

To end, the guests would finish their drink and food; they would embrace/shake hands and conclude however they like. Either heading out of the bar into the night or back to the bar for another drink. The credits would role as their social media links would come up – the lights might come down and that would end things.

MENU CHOICES/SEGMENTS

Rhythm and Booze - the drinks the guests have chosen

9-5 - job discussions

Brand New Headies - a selection of new tracks to enjoy

Consensual Grooves - music that means most to the guests

What’s Going On – the guests shine a light on an issue/discussion topic that needs addressing

Stage Dive - Q&A from social media

Drop the Needle! - the vinyl selection to end the show

Closing Time – the guests say goodbye and depart

GUEST IDEAS/DYNAMIC

I do not want it just to feature musicians: the idea of the series is to have non-musicians featured heavily. Of course, we would have bands, solo artists and other acts but it would not be a promotional tool – it is a chance to learn how they got into music and guidance for those following suit.

It is aimed at a younger audience, so most of the guests would be between 17/18 and 40, say. That rule can be extended but Electric Vinyl aims to be a cool, breezy series aimed at a younger audience but one that would engage older viewers. Having just interviewed RKZ, a London-based mental health advocate and musician, he is an ideal choice. I want to bring it to be a diverse and varied platform that brings together different music genres and professions. In terms of music guests, it would not concentrate on Rock/Alternative: Hip-Hop/Grime acts; Soul solo singers and bands are all encouraged but the emphasis is on highlighting variation and those artists that do not usually get focus.

With respect of non-musicians, this is an opportunity for real scope. I know people who are event organisers and book acts; those who work in P.R. and are journalists. They would be encouraged, and Electric Vinyl emphasises fascinating characters, colour and energy. For example, one episode could pit a Grime artist/Rap musician with a D.J. The people would not have met before so it is like a first date – a chance for two unique personalities to converse and shine. Again, there is a focus on ethnic diversity and gender diversity – not just young men.

OTHER IDEAS

In addition to the bar setting: maybe having a resident D.J. there. I like the idea of the guests’ songs being played on an electric jukebox but it might be cost effective/better to have a D.J. there who would interact (only when songs are mentioned) and play it. It is a possibility but would perhaps clutter things – wondering what the general feeling is regarding that.

Songs would play in the background – like a bar and it would not be intrusive – but perhaps could lend to the conversation. If a guest notices a song that they like it could be discussed, but again, it might detract from the focal points and be surplus.

GOING FORWARD

It would be easy to get guests, I am hoping. I know enough people from all musical walks that would be fascinating to see on the screen – bringing together great personalities and seeing how they interact. When things become difficult (costly) is the filming equipment, personnel and location. The setting need not be an actual bar but made to look like one. It might be unfeasible to clear a bar out an hour a week for filming so it could be a studio space/abandoned warehouse that could easily be furnished and utilised. I have mentioned the electronic jukebox which is a prop rather than a working thing. The song might be typed in and would come out a speaker but the actual song would be fed from a laptop – an MP3/YouTube clip so cost-wise, that would not be huge. There would be additional players/’staff’ that would work the bar, serve food and be extras.

For bands, and with regards live performances, the stage would be quite simple and small and the backline/equipment would be hired. Ideally, it would be great to film in an existing music venue that is set up to cater for the specifications and demands. I am going to enquire nearer the time but if it is too costly then alternatives will have to be arranged.

Electric Vinyl would be uploaded to YouTube and have its own channel. The only other real costs are the cameras/equipment and clearance rights. Quite a few songs will be featured throughout the episode so will have to ensure we do not infringe copyright and have clearance/permission before featuring every track. I have mentioned how the show would use three cameras, so purchasing/hiring them would be a consideration. It is not going to be an overly-expensive series but would have definite costs to consider.

KICKSTARTER

This would be the way to raise money to get the series funded and realised. It would (success) rely on the campaign being shared as widely as possible. I am not sure the exact budget but for a single series (excluding music rights) it would possibly be a couple of thousand pounds – covering equipment/location and small guest fees.

It might not sound like a huge amount but if everyone (who pledges) puts in a couple of quid – we would only need 1,000 people to be involved.

Again, that sounds like a lot but consider the potential audience – you’d imagine many would want to see a series like this come to life. Should the campaign be unsuccessful and fall shy then I will either source a less-expensive option – hire equipment or fewer episodes in a series – or self-fund it.

Rewards will no doubt be the incentive for pledging. When it comes to an album or film finance: you can offer rewards, merchandise or credits (on an album linear notes for instance). With a web series, bearing in mind there is no audience or outside physical interaction, it makes it a little harder. Interview subjects would receive a small fee for appearing so it is hoped, as a quid pro quo, they would be able to offer reward. Either a signed album or merchandise, perhaps. I guess the easiest way to attract people is a combination of musician reward-based incentives and appearance in the episode. Live performances will happen so there’s a chance to see that artist/band play; opportunities to be in the background (near the bar) as it is being filmed.

FINAL WORD

Projects like this only become a reality is people get involved and show their support. I hear from a lot of people – musicians and non – who want to see artists on the screen and gain more insight into music and various sides. We see printed interviews and YouTube/radio interviews: each gives us a window into a performer. Rarely do interviews stray beyond simple promotion; most are quite concise and short. By bringing musicians and music professionals together: it is a new incentive but allows (the viewer) to learn what happens away from the microphone; the realities of music and also hear some great music – inspired by the guests’ choices and selections. I am hoping to get a ‘pilot’ filmed as a demonstration for the Kickstarter campaign – something that is barer than what it will become but gives a semblance of what will follow. Ideas/feedback/opinions are always welcome and let’s hope…

ELECTRIC vinyl becomes a reality.

INTERVIEW: Mike Liorti of Rosedale

INTERVIEW:

  

Mike Liorti of Rosedale 

_______________________

KNOWING how hard it can be running a music career is going to seem…

like an insult to Mike Liorti. The man is a one-man wrecking ball who seems to have boundless energy, optimism, and passion for music. Based out of Ontario, Canada: not only is Rosedale a fascinating act in its own right: you are compelled to listen to local contemporaries and investigate Ontario in more depth. I have been intrigued by Liorti and his work ethic; how he keeps going and what new music is afoot.

________________________________

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

Hey pretty good, thanks. It's been a long week out here on tour. It's about at that part of the tour where things just start breaking. Even just little things like pedals and gear housings. It’s been a fix-it kind of week for sure. But that’s how it goes when you have a lot of stuff; eventually, some of it is gonna break. I still can't think of a better way to spend my summer, though. It’s all worth it.

You started Rosedale in 2004. What was the spark or moment you decided you wanted to get into music?

We were a Pop-Punk band called Uneven Number for a couple years before we changed our name/sound in 2004 to Rosedale. The big spark that made me realize what I needed to do with my life, and also had an influence in our decision to switch to a darker/deeper sound, came from a show at The Kool Haus in Toronto with Boxcar Racer and The Used.

Rosedale is your band but you travel with a lot of musicians and support. What is that experience like? Are you ever tempted to surround yourself with a proper band or does a flexible approach suit you better?

I'd love to have a full-time band. Unfortunately, with how much I tour it’s a lot harder to maintain full-time members. But I gotta tour because, especially these days, I know having fans and creating fans is more important than having a band or members. Fans don't fall into place and you can't train them to.

You need to actually go out and give all of yourself to them and the best way for me to do that is to give them a captivating live performance they will never forget. I don't make music only to get fans, but I definitely need fans if I want to make music everyday as my source of living.

Full-time members that can't leave their home day-jobs only make me have to go back to needing a home day-job. So, until I find the right musicians who totally understand and support what I am trying to achieve as an artist (or at least enough to work with it on a consistent level of ethics/contribution), I just have to train and take anyone who can learn the parts and take vacation time to tour temporarily. Obviously, nobody’s perfect. But if they're not willing to try and sacrifice as much as myself then they are only holding me back. Yet I totally understand why any musician wouldn't devote their lives to my art full-time for all-time. I'll still always give anyone the chance to, though. Maybe one day I'll have a band again.

I see you have played a lot of gigs around Texas recently. What was the experience like? There is such a huge music scene there I can imagine it was quite intense? 

From my experiences, East Texas is terrible. There's a lot of cool people that get it but good luck getting them your music. It's a tough place for new touring bands.

 Every time I work on booking Texas dates the response rate is, at best, around 1%

The venues I do end up successfully booking usually end up getting double booked "accidentally", and have tiny corner-stages (which is the biggest "music is the least important thing here" sign a venue can have). The local bands are usually extremely late, or don't wanna play first or last, or break-up around a week before the show. And getting 'fans' to come out to the shows is near-impossible. I love my friends/band-fam in Austin & Houston. But the Punk-Rock/Alternative scenes have really gotta step it up. Fans, venues, bands, and promoters, I challenge you! It seems the more West you go the better. El Paso is cool. Again, only speaking bluntly based on experience.

You hail from Brampton in Ontario. What was life like growing up there as a music lover? Are there a lot of bands and artists or is it quite a quiet scene? 

There has definitely been an insanely high amount if talent that has come from Brampton in the last couple decades. We had such an awesome little scene in the early-2000s. Like many suburban cities; every kid in Brampton and their cousin had a MySpace. So, everyone was checking out new local and touring D.I.Y. bands/shows every day. Consequently, everyone was so into music and influencing each other to grow their talents- whether it was promoting, producing, performing, etc. Music stores and venues were beyond comfortable! It was a really inspiring time for kids and it created some amazing adults and, some now; parents and even celebrities. There was also those local scene Wordpress-type websites where people would promote/gossip/heckle every band- big or small. So, the internet really inflated Brampton's already-blossoming and talented music scene.

[youtube https://www.youtube.com/watch?v=Gv1SdZkmopI&w=560&h=315]

But (also like many suburban cities everywhere) that all slowly diminished to basically nothing as smart-phones/apps./Netflix/Facebook/YouTube/Spotify/E.D.M./Covers0nly -...contemporary entertainment took over. Depressing, but It's really amazing to look back on and relate our generation to history. The industry is always changing and scenes come and go for reasons unknown until they arrive. I'm glad I was around the Brampton music scene and in that generation. It would be really cool to see an Authentic Original Bands scene start brewing up again in Brampton and cities alike. I definitely wouldn't take it for granted.

Growing up and starting to get into music, it must have been all analogue and tapes. Now it is largely digital and faceless (to an extent). Is it quite hard transitioning to a more ‘modern’ ethos or are you an artist that still does things in a ‘traditional’ way? 

It's interesting because C.D.s replaced tapes, but nothing really replaced C.D.s. Even though there's online digital sales and now streaming, C.D.s are still the go-to physical product to play music. Vinyl and cassette is also making a comeback. It’s weird to say that

I'm behind on the vinyl and cassette trend but it’s true. I'd like to get Rosedale tapes and vinyl. But I probably sell more C.D.s than digital copies because they're at my merch. table and I'm always on tour. So I guess I am an artist who still does things the traditional way, or at least how I discovered new bands when I was really starting to get addicted to music

I'm not against the digital download world. It's a great movement. But the artist is getting wayyy too small (piece) of the pie in the streaming world. As much as we need to be on Spotify to be heard, someone has to take a stand and make things right for artists on there.

Canada often gets overlooked when it comes to new music in favour of America and the U.K. Do you think this is unfair? What makes Canadian music stand out to you? 

I don't really understand the Canadian music scene. It's very clique-y and political because there's government grants and things like that for music. So everyone's very competitive behind the scenes in a really weird dog-eat-dog way. There's not as much teamwork as the American music scenes. I've only toured U.K. once so I can't say I know much about their scenes yet. But I do know they love a lot of North American bands. I think there's a fair amount of Canadian bands and artists that become iconic, though. What I find interesting is that lot of listeners don't realize these iconic Canadian bands are Canadian. Maybe because Canadians don't even really take pride in their artists until they've had success elsewhere. Or because Canada is often just considered another state to a lot of people. We should just get rid of the borders! No more passports/work permits!

What does the rest of this year hold in terms of gigs? Any plans to come over to the U.K. and play? 

I would love to tour the U.K. again. If an opportunity came up that held some promising shows I would definitely take it in a heartbeat.

I love traveling and playing music in new places. And I have a drummer in Germany learning the parts and a guitarist in the U.K. so I'm already building my roster for whenever that opportunity does come.

[soundcloud url="https://api.soundcloud.com/tracks/251124389" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Being without a band must give you a lot of freedom. It must be pretty cool going around the world and seeing lots of people. Any cities and countries you dream of playing? 

Yes, there is definitely a lot of freedom to do what I want. And it's great touring around seeing friends every few months like we just hung out last week. I'd love to play Japan. I feel like they would love Rosedale over there. All of my favourite artists do so well in Japan and they love extravagant productions so I feel like my show would be very appreciated. Spain and Australia would be cool too. I've heard a lot of good things.

Can we expect a new Rosedale E.P. or album during 2016? 

The Delux will be coming out in November with the Rosedale documentary. It’s going to be great.

When it comes to writing a new song, what is the process like for you? Do you usually have an idea of the lyrics or does it all begin with a tune?

Every song is completely different. Sometimes, I'll have just a melody or riff and finish the song with that. Sometimes, I'll build off just a hook or a chorus. Sometimes, it’s just a song on

Sometimes, I'll have just a melody or riff and finish the song with that. Sometimes, I'll build off just a hook or a chorus. Sometimes, it’s just a song on piano or a full-band demo. and I'll write lyrics. Sometimes, I'll just write an entire song as just vocals in my head while driving.

Either locally or internationally: are there any bands you would recommend to the readers? 

Briar McKay from Springfield, MO. Time and Distance from Charleston, WV. What Great Fangs from Wheeling, WV. Between California and Summer out of Orange County, CA. The Home Team out of Seattle. Plans out of Indianapolis. Third Place from Montreal. The Bus Tapes from Santa Fe, NM. Birote The Musical from Chino, CA. The Paralytics from Olympia are the nicest kids I've ever met and super-talented. I'm forgetting so many; I feel bad now. Just check my tour calendar because I always list the local bands and they're usually great.

Which bands or musicians did you grow up listening to? 

Blink-182, Radiohead, Boxcar Racer; The Ataris, Newfoundglory, Boys Like Girls; Michael Jackson, Weird Al, Deathcab For Cutie; The Postal Service, The Starting Line and many, many more.

I know sports are a bit love of yours. Do you get time to indulge or does music take up a lot of time? Which sportsmen/women would you regard as your heroes? 

I still play hockey every week or so whenever I'm home. I think I'm gonna start bringing my hockey gear on the road with me. I play some golf when I have time - and snowboard maybe once a year if I'm lucky. I'll play some basketball every now and the. Michael Jordan has always been a hero because he can't

I play some golf when I have time - and snowboard maybe once a year if I'm lucky. I'll play some basketball every now and the. Michael Jordan has always been a hero because he can't not be everyone's hero, really.

For being such a great sport you can select any song- not your own; I’ll pick one of those - and I’ll play it here. 

If you could play the theme song to Jurassic Park I'd be stoked.

[youtube https://www.youtube.com/watch?v=D8zlUUrFK-M&w=420&h=315]

________________________

Follow Rosedale

 

Facebook:

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

Official:

http://www.rosedalemusic.net/

Twitter:

https://twitter.com/RosedaleMusic

YouTube:

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

SoundCloud:

https://soundcloud.com/rosedale

FEATURE: The Drop Zone - The Art of the Surprise Album Release

FEATURE:

  

The Drop Zone

 

  

The Art of the Surprise Album Release

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IN this day and age, there is a split occurring right down the middle…

of music. Over the last few years, there has been a trend among mainstream artists: releasing albums with little or no warning. It is a way of shaking up convention and keeping fans on their toes; the question that remains is this: is it a sign of things to come? Of course, there are plenty of conventional released but the surprise release is proving to be hugely effective and popular. Frank Ocean’s hotly-anticipated album, Blond, has been dropped and took people by surprise. There has been long talk about when/what/how the album would come out; what it was going to be called (Boys Don’t Cry was the expected title) and whether it would be a natural progression to his debut, Channel Orange. Although Blond has been talked-about for a long time, nobody really knew when it was going to come – Ocean has been delaying it and creating a wave of hype and expectation. To preface the album: Ocean released the ‘visual album’ Endless: a solid and compelling work that left some amazed and others a little perplexed. Now Blond is out, it does make you wonder: is this going to be the norm for all forthcoming albums?

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

Frank Ocean’s Channel Orange, in itself, was a surprise drop and sort of blind-sided everyone. It is debatable whether the album would have created such an impact were it released through pre-planned, conventional methods. Beyoncé is another artist who has shunned tradition lately and embraced a more hush-hush method of marketing. In 2013, her self-titled fifth album was dropped with no build-up or knowledge – her own record company did not even know it was going to come out when it did. Not only was Beyoncé a return to form and bold declaration: it has inspired other artists to take the same sort of tact when it comes to bringing out their new albums. This year saw Lemonade released and led some to believe it was her pre-divorce, break-up album. Like Frank Ocean and Endless: Beyoncé released Lemonade as a visual album to start: there was no huge fanfare and its exact release date was subject to mystery and speculation. By ‘surprise’ release I mean one with no real announcement or E.T.A. date. I was taken aback when Lemonade came out and there was not the traditional P.R. assault and pre-release singles. Lemonade not only shows huge confidence, anger and authority from Beyoncé: the way it was brought about and promoted is almost as memorable and notable as the material within. You have to wonder whether mainstream artists will prefer this stratagem with regards their records. You cannot say Ocean’s enigmatic and cryptic what-if way of promotion has done him any harm. By tantilsing the public and unleashing an album without given due notice: you are going to get the sales figures high and people rushing out of sheer intrigue and shock factor. Is it a cynical marketing ploy or a way of shaking the industry up?

[youtube https://www.youtube.com/watch?v=5j206gcUlrw&w=560&h=315]

It is fair to say the surprise album release is not a fad of 2016. It has been happening for quite a few years but has become more prevalent and widespread the last year or so. Radiohead are no strangers to this way of working and started that ball rolling in 2007. One of the first bands to employ this tactic: In Rainbows arrived into the world with scant expectation and announcements. Their pay-as-you-like decision was applauded by many and was seen as groundbreaking and revolutionary. The King of Limbs, their 2011 L.P., was brought out without an official release date and the Oxford band showed, once more, they are the masters of catching you by surprise. Perhaps their most relieved and wonderful sneak-round-the-back album drops was this year’s masterpiece, A Moon Shaped Pool. There was Twitter talk and rumours the band was working on a new release. Between interviews, Instagram posts and oblique online messages: it was never certain whether something would come and if so, when that would occur. What Radiohead did this year, as opposed to their last two albums, was take the lights down and blank-out their online portfolio. Wiping everything clean, like the spotlights going out before a play starts, the band built tensions and got people scratching their heads. When first single Burn the Witch was introduced; we knew an album was coming: once more, they had created an inspirational and unexpected way of launching their album. It gets you speculating whether the band will ever release a new album in a traditional way again. It has certainly got people talking and the band seems bored at conventionality and a humdrum, P.R.-driven way of working. By getting people guessing and keeping them on their toes; it means mainstream music is never going to stagnate and be boring.

U2’s Songs of Innocence, Kaiser Chief’s The Future Is Medieval and David Bowie’s The Next Day were all shock and unpublished releases. The former was perhaps an unwelcomed thing (U2 putting their album onto iTunes users’ account against their will; forcing them to delete it or listen to the album) whereas Bowie’s The Next Day was his first record in a decade. In February 2015, Drake released If Youre Reading This Its Too Late, and ensured fans and music lovers clambered to the Internet to hear his music. Nobody knew it was due and the sheer surprise value saw the album accrue huge sales and recognition. It brings me back to the idea of cynicism and financial ploys. By bringing an album to public attention with little warning is a risky move but one that leads to huge aftershocks and attention. If Beyoncé or Radiohead went down the normal routes – release dates and single releases – we’d know when the album was out and it would seem rather normal and anticipated. Even if the music is fantastic, one wonders whether there would be such a media circus and spotlight put on them. Lemonade and A Moon Shaped Pool were introduced with a sense of theatre, showmanship and misdirection. Psychologically, people were hooked and waited with baited breath. When the albums came out, it can be argued that this mix of instant release and eye-catching pre-release added to the downloads and reviews – thus affording the artists more kudos and sales. There is the debate whether it is a way to attract bigger sales or whether it is musicians showing innovation and pushing the boundaries of modern music.

My final points look at the other side of the debate: what of the unsigned/new artists that have no choice but to go down the familiar, traditional route? Guerilla releases can be the start of things for artists. As Beyoncé (and many others have shown) it is just the start of a multi-part offensive. The digital/visual album comes out; it is then available to stream on iTunes and Google and paid subscription platforms. It is not a case of just dropping an album and letting people take it all in and make their own minds up. There is so much follow-up and compartmentalisation that gets that finished product out in the rather across all sites, sources and services. David Bowie, once more, released a surprise album very recently: his final creation, Blackstar, was unexpected as his untimely death. If he has announced the album release date and subjects it might have tipped people off about his death – something he wanted to keep a secret. I digress, but there is a rich and fascinating sub-culture happening that is deserving of discussion and debate. It gets me thinking about non-mainstream musicians who do not have these options. Imagine if a new Rock band from Liverpool released their debut E.P. with no announcements or singles? Just put it there and let people do all the legwork. The sort of backfire they would experience would probably ruin their careers. The modern-day musician is entrenched in a daily routine of interviews, promotion and touring. There is not the option to spend thousand on visual albums – most do not have the sort of money Frank Ocean does.

No modern, unsigned act could try anything as audacious, costly and brash. I review and follow bands as part of my journalism and know the tireless work they have to put in. So many have to call time because the rigours and lack of focus is killing their careers. There are so many acts out there and it seems space is a premium – reserved for the luckiest and hardest-working. In a digital age it brings a new problem to mind: how much revenue can a new musician realistically expect to mate? Gigs are the only effective and dependable way to earn a crust in the current scene. Sites like BandCamp, YouTube and SoundCloud make music accessible but, to the detriment of many, free of charge. If an artist does put their record on iTunes (for a small fee) they run the risk of being overlooked and criticised – why would people pay for something when they can get it for free elsewhere? Competitiveness and marketing is such a risky venture. If you make your album/songs available on free platforms so anyone can hear it: will you ever make money from it and last in the long-term? If you do the opposite and risk the paid option: will people go for it and is it liable to explode in your face?

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

These considerations alone are enough to make the head explode so it must be galling, for new artists looking to the charts, seeing bands and acts surprise the world with a new album – and getting paid handsomely. It is not the duty of the well-established artists to consider their successors and how their actions affect them. It may sound callous but everyone has to look out for themselves and we cannot expect the wealthier, popular artists to take lesser musicians into consideration. To be fair, surprise album releases like Blond, Beyoncé and A Moon Shaped Pool are not hurting new musician directly – it is just a bit deflating seeing those artists breeze through confidently and gets enveloped and drowned by the drools of music critics. Does this circus of celebration propel them to succeed and follow suit or is it putting them off releasing music at all? Could there be a way for a new band/artist to do a surprise release and it actually work? It is hard to say but this debate is getting hotter and more relevant. Who knows which artists will release albums without warning the next few months?  One thing is for sure: the surprise album leak/release is very exciting and does give music a kick and breath of fresh air. The reaction to Frank Ocean’s visual/traditional release Endless/Blond has been met with a lot of coverage but few explosive reviews – many, including myself, thinking it a muted, toned-down version of his best work. I guess the material shouts loudest and the release date/promotion is just a tool: if your songs are not good then it does not make a difference how you release it. I feel the surprise album release is keeping music unpredictable, surprising and genuinely evolving. If you consider this a good or bad thing it is something that is not going to slow down. Musicians like Beyoncé and Radiohead are getting into a roll; Frank Ocean has shown the sort of publicity that can be acquired – other artists find freedom bringing out an album in a new and exciting way. Now Blond is in the ether and gaining (somewhat mixed) feedback, it makes you wonder this…

WHO will be the next artist to tantilise us with the surprise release?

TRACK REVIEW: Victory Kicks - Skyscrapers

TRACK REVIEW:

 

Victory Kicks

 

Skyscrapers

9.4/10

Skyscrapers can be heard via:

http://victorykicks.bandcamp.com/track/skyscrapers

The album, Emily’s Hours, is available at:

http://victorykicks.bandcamp.com/

TRACK LISTING:

Skyscrapers

Emily’s Hours

Wino Lino (Part II)

Battleships

Take It Out

Night Train

Daylight Saving Time

Get Blurred

The Losing Side

We’re Still Running

RELEASE DATE:

August 5^th, 2016

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Emily’s Hours is the seventh record to be released by Victory Kicks since its formation in 2013. The band’s fourth LP and its second this year, it consists of ten short, sharp pop songs about work, based around overheard conversations on rush hour trains.

Released August 5, 2016

All songs written by John Sibley except:

Wino Lino (Part II) which includes lyrics and melody by Martyn Piggott. For Wino Lino (Part I) see Sweeney. New album Men of Funk out now at ohsweeney.bandcamp.com.

Night Train is written by Martyn Piggott and originally recorded by Space Team 4: soundcloud.com/spaceteam4

Performed and recorded by Victory Kicks

Produced by John Sibley

Unmanned Aerial Vinyl 2016. UAV-VKLP004

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FOR the second day straight...

I am looking at a solo artist who is a lot more intriguing than you would imagine. It seems like a strange sentence but we get impressions with solo artists and what to expect. By and large, the lone artist is perceived as quite slight and lacking – when compared to a band sound. Not as invigorating, full and layered as the group dynamic – our minds think of something calmer, more stripped-back and restrained. As my review showed yesterday: This Modern Hope, the moniker of Rob Payne, is capable of producing songs of majestic propositions; portraying the sound of a full group and subverting expectations of the solo artist. The same can be applied to my subject today: John Sibley’s Victory Kicks is a fully-fledged band projection. It is weird we assume certain things with a one-piece artist: that they will play a certain way and not have the authority of an average band.  It is something that has irked me and got my wondering. Before I look at D.I.Y., bedroom-made music and unusual influences; I will look a little more at that point. One listen of the aforementioned This Modern Hope brings you into an evocative and beautiful world: all full of graceful, wave-crashing strings and vivid lyrics. Bracing, atmospheric and beautiful: the listener is brought into a new world and moves alongside the music. When a solo artist can do that it is deeply impressive but not rare these days. We all the idea that solo musicians are acoustic guitar-carrying and are Folk/Pop-based. That may account for a certain percentage of musicians but the modern evolution is producing musicians that incorporate more instruments and themes into their songs. Perhaps dictated by influences or fulfilling the changing demands of the marketplace: today’s musician is a lot more varied and accomplished than in previous years. It is not sufficient to merely rock up with a guitar or hollow sound and expect to stand aside from the crowd. Among those type of artists, there are very few that genuinely stick in the mind and compel you to investigate them more. Today, Victory Kicks is a more established band dynamic but it all started with Sibley making music with a few friends kicking in. Victory Kicks wouldn’t have come as far were it not for its leader’s determination and clear vision. Even now, it is Sibley’s characteristics and input that defines the music and distinguishes it from his peers.

I have noticed a sea-change in music that is seeing musicians become more multi-tasking and self-sufficient. As the likes of This Modern Hope has shown: you cannot expect a record deal straight away and must take initiative; get on with music and not hope someone will snap you up. Because of this, the new young musician has no choice than to carry on without record label approval and try and make an impression on their own terms. The music they are providing (by and large) is deeper, richer and more textured sound. John Sibley’s Victory Kicks is the epitome of this and someone who has had to craft music, unsigned. One day that deal will come but Sibley knows it might be a little while down the track. Undeterred and determined: his latest work is among the very best yet; destined to see him scooped up and exposed to a wider audience. Before I come to that, I shall introduce Victory Kicks to you:

“Victory Kicks started life in early 2013 as a home recording project for songwriter and guitarist John Sibley. After writing a large number of songs and realizing that waiting around for a record deal would mean that most would inevitably be forgotten, John decided to start piecing a recording studio together at home. Old songs were finished off and new songs were written and often recorded the same day with John handling vocals, guitar, bass and drums as well as production duties and working out how to do the latter as he went. Early EP's and singles containing short, lo-fi pop songs were recorded and shared amongst friends and family.

Victory Kicks then went from solo project to band with the addition of friends from other London based acts and established its own record label with the release of its first official EP, Rockets for Ghosts in July 2013. Comprising seven home recorded tracks of short, catchy indie rock, Rockets for Ghosts was a success for the band garnering favourable reviews and receiving airplay for the first time on stations in both the UK and the US. Ghosts was followed by the release of three singles, including the song Radio Saves which saw the band make its debut appearance on BBC radio playlists.

Taking the decision to record music at home would allow the band the flexibility to record new songs as and when they were written and since the release of its debut EP in 2013 Victory Kicks has built something of a reputation for prolificacy - 2014 has already seen a full length album called The Decibel Age as well as a seven track EP called Emergency Noise. A third record called The Young Flood will be released on November 17th. Today, Victory Kicks is a four piece band consisting of old friends making home recorded music whenever possible”.

I mentioned artists (solo) that have to up their game and become more band-sounding in order to resonate. Music is changing and becoming more challenging and less predictable. It has always been the case artists have had a tough time but the more people that come into the world; the existing musician has to struggle harder for recognition and acclaim. Record deals are near-impossible to come about and financial rewards are reserved for the most established and successful. What is happening more and more, is new musicians turning to D.I.Y. approach. Victory Kicks’ John Sibley started on his own and realised studio costs would be extortionate and unrealistic. Knowing the only way to produce music would be to do it at home: he set up his own studio at his flat and laid down music there. It is becoming more common in today’s climate. I am not sure how much an ‘average’ E.P. would cost to record but I imagine it would be hundreds of pounds. Many of us do not have that sort of money lying around reserved for music. So much of today’s music is free of charge and can be accessed by anyone, anywhere. The profitability of being a musician is scares and unpredictable. I hear so many artists having to quit and change their goals because of this. Sibley started on modest footings but has grown into a more established artist – more musicians and a bit more luxury at his disposal. That said, he is still someone who is not surrounded by lavish studios and expensive producers-for-hire. There is a sense of D.I.Y. rawness and something quite sparse – harking back to the early days of Victory Kicks. Technology and online software is being utilised more and providing an affordable space and option for today’s musicians. If we had to rely on studios for out output: modern music would  be far poorer and more restrained. I feel we have to do more to make music, not cheaper, but less daunting for those coming in. If you have to busk relentlessly and work several jobs in order to make a few songs then something is wrong. It is baffling so many great, ambitious musicians are being priced out; so the question remains large: is the bedroom-made sound the way forward? Perhaps so, but it is not always conducive to original and memorable songs. You have certain limitations in technology – artificial samples and under-produced sounds – and don’t have the same options as studio-set music. Sibley’s London crew have started from sapling roots and grown into a respected and popular group. In spite of the prolific output and exceptional music; the future is still not as certain and solid as it should be. One assumes someone like Sibley would be able to command long studio stays and get gigs wherever he pleases. I shall not go into too much detail only to say there needs to be a two-level approach to music. Not only ensuring studios are more affordable and less pricey; there are greater financial rewards for musicians and a way to finance them without having to rely on crowdfunding, for instance. It is a perplexing quandary but I am sure there is an answer in there.

Before I get down to looking at Victory Kicks’ latest album/songs, I wanted to pay tribute to those who do not employ oblivious and stayed influences. Every musician has their idols and to an extent will integrate these into their music. The same is certainly true of Victory Kicks whose music has definite hints of certain artists. Looking at their biography and seeing who makes them tick, it made me smile a bit. Guided by Voices, Wilco and Yo La Tengo are key. So too is British Sea Power, R.E.M. and Grandaddy. I have never seen all these names together and few of them actually sourced by a musician (as an influence). Perhaps it is an issue among bands but I find so many are inspired by the same type of act. You hear the same bands being name-checked and mentioned; it is understandable in some cases but can be very predictable and shoulder-sagging. Victory Kicks, and their listed influences, breaks away from convention and is a rarity. I know all the bands individually but have never known an artist to put them together. Listening to Victory Kicks’ music and it sort of all makes sense. You get the accessibility of R.E.M.’s mid-later-career accessibility with touches of Murmur (their debut album). Wilco and British Sea Power can be detected in Victory Kicks’ early work and definite nods to Yo Le Tengo. None of those musicians leap from the page – Victory Kicks are unique and original when you think of it – but it is refreshing seeing lesser-mentioned acts sit alongside one another. Not only does it suggest a musician/band that are a bit different and less predictable: you are compelled to listen to those acts and see where Victory Kicks came from. If music is to evolve freely and inspire the future generations then artists need to be less rigid and more flexible with their influences. So many new artists are overlooked older music and taking their inspiration from modern artists. It is going to lead to music being more homogenised, narrow and ‘new’. I hate to think one day musicians and the young will forget about the legendary artists and what they gave to us. Again, this is a theme for another day but something worth considering.

Victory Kicks have had a long and varied career and you need to go back to 2013’s Dead Language Evening Class to discover their earliest sounds. That E.P. was a four-track release that sounded more like a John Sibley solo project. He has help with the record but the abiding takeaway is Sibley and his talent. It was home-recorded and has that lo-fi charm to it. More electric-based and harder-edged than current work: it owes a little nod to ‘90s Rock and Indie bands; an insistent and fast-flowing E.P. that announced a singular talent with a lot of focus. A series of singles were released by the E.P. Emergency Noise was the next full release. Released in 2014, and with seven tracks on board, more acoustic elements were brought into the fray and it remains a more rounded and diverse listen. Again, there was a D.I.Y. aesthetic but the E.P. seems crisper and more defined than the debut. Sibley pushed himself as a songwriter and brought more sonic elements and instruments into the pot. Recorded in Sibley’s flat and benefiting from the creature comforts of his abode: it has an intimacy and deeply personal relevance; a wonderful live sound that makes every song shines and stand out. If it has a polished studio sound it would lose its edge and appear too theatric and insincere. Sibley’s heartfelt and tender voice comes through and he progressed as a singer too – bringing more cadence and sides into his performance.  High Wires was released last year and an album that pushes Victory Kicks up another notch and improves on previous efforts.

With every release, Sibley becomes more intriguing and boundary-pushing as a songwriter and that is evident here. Recorded and produced by Sibley and sounding more band-mate and full; the L.P. owes more in common with the latest album, Emily’s Hours. Every song seems fuller and more polished – not quite as bare and raw as earlier work. It gives the music a more commercial sound but not at the expense of conviction and emotion. Get Blurred takes this theory further and is another step up. Now a more band-themed concept: more elements and voices are brought in; the record is more compelling than one would imagine. Those thinking other components and vocal would take away from Sibley’s established sound but in fact it elevates the music. From the earliest days until here; Victory Kicks have evolved and grown into something extraordinary. The first few efforts were simpler and brought in certain influences; the newer records are more variegated and mix genres and new inspirations into the records. Every new release sees to top the last and that is true with Emily’s Hours. Victory Kicks seem like a full band now but one that have very few equals when it comes to what they are producing. Sounding completely in the zone and assured: it is wonderful hearing the guys bond and combines across truly incredible songs. There is still a rugged and modest production sound but the music is cleaner and has more polish than the earlier material. This rate of progression is impressive and hints at a band that is ready for mainstream recognition. How long before that happens? Surely not that long, one would imagine.

I was keen to review the entire album but wanted to focus on one track especially. Skyscrapers opens Emily’s Hours and does so with a definite sense of purpose. No time for fade-up or building the mood: it goes straight in and gets away with intention and determination. Scratchy, accelerated guitar scuffs open Sibley’s vocals up perfectly. The front-man is keen to lay down his lyrics and get his messages across. As Emily’s Hours documents commuter conversation and the stories we hear unfold on trains: Skyscrapers’ titrle might bring obvious ideas to the mind. The sight of pulling into Waterloo, perhaps, and seeing the tall buildings and London panorama beckon into view. Our hero implores against the workaday life and the humdrum, depressing daily existence. Whether speaking from experience or recalling the tale of someone he encountered: you get a real sense of mundanity of the working day and the stresses we face. The employers will not appreciate you and you will be undervalued and wasted. We all have that job where we feel invisible and anonymous and that comes through here. Those rushing and spiraling strings give ideas of locomotion and trains pulling into the station; the heavy foot traffic at train stations and the general busy nature of the streets. Many musicians have tried to assess the miasma and soul squalor of a Monday morning but few as effectively and vividly as this. You hop into the song and embody yourself the central figure – getting pushed along by London citizens and harried into the workplace; slum into your workstation and prepare for a crushing day ahead. Like Victory Kicks’ modern songs (and a lot of their older ones) we start from subtle, softer beginnings before the song expands and gets hotter. Starting inside a tense and energised delivery about arriving at work and feeling squashed underfoot; Skyscrapers changes tone into the chorus.

The song’s title is never really utilised as a mantra (like previous Victory Kicks songs) but instead it is the composition and vocal that is left to seduce and impress. Other Victory Kicks tracks have repeated chorus lines and song titles to get into the head and register a reaction. On Skyscrapers; the emphasis is put on the overall performance and the shift from acoustic-led drive to a fuller, bolder sound in the chorus. The lead implores us/the subject to open their eyes and see the sense of decay and depression. It is a number that will have different visions in each listener’s mind. I was picturing a lone, solemn commuter moving from train to underground to office; walking the streets and feeling lost among the huge crowds. Never feeling needed or like a human being: you sense that the man is just a cog or ghost lost in society. Perhaps Sibley is looking at consumerism, the modern workplace or the city in general. Always comfortable being a musician in London; one wonders whether the band experience is being documented. Maybe they feel undervalued and aghast at what is unfolding and the state of the music industry in general. It is an interesting point and shows Skyscrapers has many levels and possibilities at heart. One notices an obliqueness to some lines and it can be open to the individual to decide what is being said. Some of the lyrics do get a little buried in the composition and can be hard to decipher but that adds to the overall effect and emotion of the song. The band keeps the score edgy, rushing and moving without outpacing the vocal and making things suffocating. Sibley’s voice sneers at times and has a distinct tone of anger and upset to it. I was imagining the acidic tongue of the working life being twisted and tied but I also thought more generally about modern society. I was looking at R.E.M.’s debut album Murmur yesterday as part of a feature on the 1980s’ best albums. That L.P. was distinguished due to its enigma and austerity; the richness and intelligence that came through. Stipes vocals have a lack of intelligibility at times but that all sort of adds to the song. Michael Stipe’s vocals murmur and mumble but it elevates the song and adds mystery to them. Sibley has a similar quality and while his voice is clearer and faster; there is a loss of clarity at times which, rather than detracting and hurting thw song, seems appropriate and elevate it. The lyrics can be applied to the malaise we face approaching the working week but work deeper than that.

It is a great opener for Emily’s Hours and a bold statement from the band; they get stronger and more fascinating with every album/E.P. Skyscrapers is a perfect opening statement and song that provides rouse and energy but has a deeper message and motivates us to consider what is being said and its wider implications. It is not just Sibley’s vocals and lyrics that get under the skin and hits the listener but the composition provides plenty of splendor and quality. You get caught up in the spirited guitar and sturdy percussion and surrender yourself to its youthfulness and engagement. It is a composition to dance to and sing along to; another track that will get the crowds involved and unified. At the end of things, those lyrics leave you curious and you’ll be listening back to try and dig down to its roots. Emily’s Hours was inspired by train travel and conversations therein so one assumes the opening tracks looks at the morning commute and the experiences of getting into the office. Take it wider, and there are other implications and possibilities to the words. A song that mixes complex and simple without ever confusing or misleading. Such a wonderfully rich and terrific song that opens Emily’s Hours up with a real sense of impact and meaning. I have followed the London band for a while now and know how good they are. Skyscrapers ranks among the finest work to date and shows how much talent and creativity is still on offer: it means the future will be very interesting and I will wait with baited breath.

I am a little late to Emily’s Hours and joining the party. It is amazing to think Victory Kicks have released two albums in the space of a few months. It shows there is huge productivity, creativity and hope in camp. From the early days, the project has started from modest and homemade origins to grow into something more established, assured and full. Sibley is still at the heart of things but Victory Kicks have the sound and nature of a full band – not just a solo artist getting a few mates to contribute to their music. Victory Kicks are keeping their social media pages updated and ensuring fans are kept abreast of the latest happenings. The accounts are very professional, informative and easy for people to discover and follow. If you are not already a fan of the group then make sure you get involved and catch them live. So many great London artists are emerging and there is a lot of hustling and competitiveness. Standing aside from the crowd is incredibly hard and gaining the ear of studio bosses and record labels harder still. I looked at This Modern Hope and how it is, in essence, a one-man band and project of Rob Payne. He is based in London and stands aside from so many of his contemporaries. In the same manner, John Sibley’s Victory Kicks is not your average band/endeavor and goes a lot deeper than many out there. One of the most productive and accomplished acts I have come across: their albums are an exploration into music, emotion and dynamics. All anchored and galvanised by Sibley’s assured voice: the music creates something dream-like and wondrous. To be honest, there are so many shades and sides to Victory Kicks it is hard to narrow it down to one word or sentence.

Previous L.P.s have shown a development and progression: more confidence and sounds coming together; the songwriting stronger and possessed of more nuance. Where they are now is where they need to go: surely not long until international recognition and big-money deals one would imagine? It is always risky tipping a band for success – I have done that and a few have split up; not my fault, to be fair – so I am always hesitant making big statements like that. Victory Kicks deserve a lot greater acclaim and opportunity than they have. I know Sibley will take them across London and promote the latest album but one knows there are huge crowds who would love to see Victory Kicks in their town. The U.S. seems like a likely home and plenty of L.A. opportunities you’d think. Their sound is not cliché or predictable: it has clear personality and brings together wonderful artists like R.E.M. and British Sea Power. Varied, emotive and wonderfully fascinating: every album brings so much to the plate and leaves the listener stunned and deeply impressed. Get Blurred was released in June and has been followed up by this month’s Emily’s Hours. Not a mere copy or continuation of the previous album: the ten-track record is a different beast but still has that distinct Victory Kicks sound. I have been following the group since the debut album and am staggered by how they have grown and come along. Sibley is one of the most assured and talented songwriter in the country and his cohorts give the songs flesh and blood.

The title track drives off the blocks and races away. “Emily’s Hours trying to turn it around” is repeated as a chorus line and one wonders what that relates to. Oblique on the one hand but quite direct on the other: you will have your own ideas and conclusions. Sibley’s vocal is firm and determined and gives the lyrics a sense of urgency and passion. The composition pairs percussion and strings and has simplicity to it. Not needlessly crowding the song out or putting too much into the mix; it is a catchy and compelling song that has instant appeal and is sure to be a live favourite. There are flavours of R.E.M. in the composition but it is very much Victory Kicks in charge: they provide the merest hint and suggestion and employ the U.S. band as a springboard. Missteps, distortion and feedback give the impression the song ends but it comes right back to life: a wonderfully unexpected touch that gives it fresh momentum and a cheeky demeanor. Battleships is a less springy and more tense track whose vocal and composition has plenty of life but more seriousness to it. Perhaps not a crowd singalong: it is a song that makes you reflect and looks the inner-workings of a relationship. The words make you think of two lovers who are on different pages; trying to reach a compromise but perhaps not – again, Sibley’s lyrics are not obvious and give you the chance to interpret yourself. Take It Out is acoustic-led but soon gets harder and heavier without coming on too strong. A typically tight and memorable song from the band: it revolves around trains and new days; the commuter lifestyle and a certain sense of routine. The entire album is built around overheard conversations on trains and the sort of odd and everyday mixes you hear from commuters’ chat. Take It Out looks at the mundane, workaday life – getting the magazine out and head straight; wanting a slow day and no stress – but characterises it with heart and definite romance. You transport yourself into the skin of the song’s subject and feel the emotions, scenes and people that aree being projected.

Night Train takes us into another side of the commuter saga and twilight experiences. Daylight Saving Time has elements of British Sea Power with the composition. The strings have that definite The Decline of British Sea Power vibe while the vocal (a two-hander) is a beautiful fusion of tones and expressions; constantly engaging and brilliant. The Losing Side is another propulsive number that catches you unaware. The percussion is especially impressive and gives the song kick and drive; propels all other components forward. Sibley’s talents as a songwriter are brought to the fore as he turns the everyday ruts and experiences into something transcendent and fresh. He elevates these random conversations into little art pieces and galleries of human oddity. The Losing Side has some memorable lines (a mantra asking why they had to be “stupid fuc****” among them) and it is another concise and addictive jam that is sure to register a big response in the live setting. We’re Still Running is one of the shortest tracks on the album but closes things with a definite bang. Built, like many songs, around the song’s title: one of the finest cuts from the album. Bringing the entire band in more directly: it is a glimpse into another side of modern day life and gets you thinking hard. One is seduced by the gorgeous duel vocals and breezy, heartfelt codas that come forward. Never too anxious or foreboding; never needlessly offensive or vague: another quality cut from Victory Kicks that shows why they are one of the country’s finest unsigned acts. It is hard to define Emily’s Hours and drill it down to a few words.

Across the ten tracks, whilst levied to the theme of commuter discussions, you have so much story and different interactions. From stress-laden morning rushes to the nighttime unpredictability of the city; the sort of lifeforms that we take the train with to more everyday considerations – you need to study the album repeatedly for it all to sink in and get the full benefit. Victory Kicks have created a wonderfully unique album that shows how consistent and tight they are. Every song is defined by wonderful chemistry in the group and Sibley’s songwriting is at its very strongest. Previous albums have been wonderfully engaging and solid but here you get the finest work from the band. There is a lot of excitement and hope in the group and they will have a busy next few months ahead. Following Get Blurred and its release; many would not assume another album would come out so soon. It just proves what a love for music they have and how much the creative juices are flowing. I am not sure we will see another Victory Kicks album in 2016 – you would not put it past them, mind – but they will be getting out to crowds and performing their new music. Take some serious time to discover a band that is likely to be one of our future mainstays. They have already set down an extraordinary benchmark and you know more is coming from them. I, for one…

CANNOT wait to see what they produce next.

[bandcamp width=350 height=470 album=382185148 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=1410279733]

__________________________

Follow Victory Kicks

 

BandCamp:

http://victorykicks.bandcamp.com/

Facebook:

https://www.facebook.com/VictoryKicks/

Twitter:

https://twitter.com/victory_kicks

FEATURE: 10 Essential Albums from the 1980s

FEATURE:

 

 

10 Essential Albums from the 1980s

 

______________________

ONE of the things that angers me most about musical debate…

is how overlooked and ridiculed the 1980s are. Seen as a ‘joke decade’ with nothing more than hair bands, New Romantic tosh and power ballads – it is only a minor player in a huge, wonderful time for music. You just have to look at the albums and artists that came out of the ‘80s to realise how special it was. Few of the 1990s’ best would have existed were it not for what came before. In fact, modern music as we know it owes so much to the 1980s. It will never get the credit it truly deserved but music lovers who truly know their stuff know better – just how crucial and sensational the ‘80s was. In honour of that spirit and defiance: I have been looking at the albums that emerged from the decade; trying to decide the most important records from the time. There are some omissions but, to me, the 10 albums here are the very best from a truly astonishing decade.

_______________________

Beastie Boys - Paul’s Boutique

Many do not realise what state of affairs Beastie Boys were in during Paul’s Boutique and its creative inception. The group was away from their native New York and embarking on a rather challenging sophomore album – one that would keep them fresh and relevant but differs from their debut album. When Paul’s Boutique was released, it was received with a sense of tepidness and confusion among critics. Essentially a samples album; there is none of the teenage-themed rebellion, filth-riffs and Punk attitude of their debut. The boys were at a loss how to present and launch themselves. Step up legendary producers Dust Brothers who not only gave Beastie Boys a new direction and inspiration – they are the uncredited heroes of Paul’s Boutique. Critics in 1989 didn’t know how to handle the album but that is their folly. Filled with stunning samples, imagination and astonishing ambitious songs: it stands as one of the most colossus albums of the ‘80s and reinvented and pushed forward Hip-Hop. Sampling, being tricky, costly and reserved for the brave, was not a huge fixture of the late-‘80s. Beastie Boys inspired the likes of Beck (whose album, Odelay seems like a ‘90s Paul’s Boutique) and set a president for every other Hip-Hop act out there. Paul’s Boutique is full of contradictions and variation. Some songs, such as 5-Piece Chicken Dinner and Ask for Janice, last mere seconds: B-Boy Bouillabaisse is the 12-and-a-bit-minute finale and one of the most awe-inspiring, head-melting pieces from Beastie Boys. Packed with humour, bravado, and fiery raps: a marvellously compelling and astonishing recording that could take on any album from any decade – the critics of the ‘80s weren’t the smartest!

[youtube https://www.youtube.com/watch?v=hcy-MmpTkek&w=420&h=315]

Pixies - Doolittle

It is fair to say Pixies are, if not the most, then second-most influential Indie band that have ever lived. Without them there would be Nirvana: without them, there would be no Grunge and, well… music as we know it would be a very different place. 1988’s Surfer Rosa was fed to frenzied critics who found their sleazy, lugubrious riffs inventive and savage; the band interplay exhilarating and defiant – the songs anthemic and wondrous. They weren’t wrong: Doolittle would build on Surfer Rosa’s incredible foundations and be instantly celebrated as one of the ‘80s’ finest records. The 15-track album was not hotly regarded by all critics. Some found the production a little theatric and not fitting of the album’s intentions. Those who were willing to truly listen were blown out their skins and overwhelmed by the explosions they discovered. Short, sharp attacks like Tame – one of the most berserk Black Francis vocals so far - set the tone. Tensions between Francis and bassist Kim Deal were palpable during recordings – placing strains on the rest of the band and delaying the process. This tension and hostility filter into the album which is fraught with tussle, fight, and venom. If the band’s leader and most influential musician were at loggerheads: the same could not be said of the music of Doolittle. Consistent, focused and accessible: it is a far-reaching and ambitious album in terms of lyrics. Black Francis explores environmentalism and crazy ex-roommates; eyeball-slicing and driving cars into the ocean – balking against the tried-and-tested-and-boring clichés of broken hearts and doe-eyed romantics. Musically, the band reacted to Francis’ lyrical dexterity and gave each song its own style and sub-genre. From Western-influenced sounds to dead-eyed psychosis: Doolittle laid the groundwork for ‘90s bands and (Doolittle) stands as one of the most important Alternative-Rock albums in musical history. It is a testament to the importance of Pixies that they are still recording today – about to release their latest album, Head Carrier.

[youtube https://www.youtube.com/watch?v=XycBLF6kWuY&w=420&h=315]

The Smiths - The Queen Is Dead

You can tussle and argue all you like when it comes to deciding The Smiths’ second-finest album: there can be little debate about the top spot. The Queen Is Dead was the moment the band cemented their legacy and proved they were worth the hype. To be fair; they didn’t need to prove anything to anyone but The Queen Is Dead was a quantum leap from their earlier work. No filler or weak tracks: Johnny Marr’s compositions and Morrissey’s lyrics were at their very apex. Morrissey especially was lauded because of his witty, intelligent and astonishing lyrics. Seemingly a romantic anti-hero who seemed happier being killed by a double-decker than sandwiched in a threesome: the doom-laden fatalism of his songs was a world away from his peers. His performances and vocals swooned and swayed; that voice managing to register so much emotion and effectiveness whatever he was singing. Marr’s always-mesmeric compositions created mini-worlds and straddled genres – marking himself as one of the greatest guitarists of his time. The Boy with the Thorn in His Side and There Is a Light That Never Goes Out stands the test of time and are considered among the greatest songs of all time. Morrissey’s lyrics subvert expectations that he was a depressive, misery guts with no alter ego. The Queen Is Dead’s songs provide tenderness, social commentary and gorgeous poetry – coupled with humour, devastation, and heart. There are not many modern guitar bands that can, if they were honest with themselves, omit The Smiths from their list of influences. Johnny Marr and Morrissey both state Strangeways, Here We Come was their favourite album (not true with the critics): they never made a more celebrated and solid album as this.

[youtube https://www.youtube.com/watch?v=n-cD4oLk_D0&w=420&h=315]

Public Enemy - It Takes a Nation of Millions to Hold Us Back

In the same way Paul’s Boutique threw away the Hip-Hop rulebook: Public Enemy’s career-defining sophomore release threw down the gauntlet and was revered as a genius work of social commentary and force. Against the backdrop of Ronald Reagan’s America: Public Enemy had plenty of fuel to stoke the fire. The noble army of The Bomb Squad, Professor Griff; B-Boy and Flavor Flav were joined by renegade mouthpiece Chuck D. His super-smart, pistol-whipping rhymes were given impetus, haulage, and artillery by The Bomb Squad heavy and intense soundscapes. With Flavor Flav adding huge clocks and humour: Public Enemy were a unique force that was much-needed in an America that was falling apart. Black voices felt ignored and subjugated: not represented by politicians and very much a silent minority. Public Enemy saw the chaos around them and funneled this anger and disgust inside an album that brought the nation’s forgotten armies right into the spotlight. The quintessential general and mercurial commentator: Chuck D.’s astonishing lyrics not only documented the reality and truth of life for the urban underclasses – he would inspire a generation of Hip-Hop and Rap acolytes that needed that common hero and guidance. Unlike some of their lesser-minded peers: Public Enemy’s primal and hard-striking lyrics were not sound-tracked by knuckle-dragging, one-dimensional sounds. Jazz, Rock, and Musique Concrète were fused together to bring about something truly astonishing and original. It is hard to think of a Hip-Hop album that has surpassed It Takes a Nation of Millions to Hold Us Back. It was a staggering revelation and creation back in 1988: its influence, timeliness, and power have not waned in the proceedings 28 years.

[youtube https://www.youtube.com/watch?v=n5AYMiAdqhQ&w=560&h=315]

Paul Simon – Graceland

Leading up to Graceland’s creation: Paul Simon’s life went through a lot of change and turmoil. Briefly reuniting with Art Garfunkel: the two performed a couple of reunion concerts but nothing past it materialized. Solo album Hearts and Bones arrived in 1983 but was not well-received by critics. That failure led to a period of depression for Simon who retreated to an extent. Finding pleasure in South African township music: that sparked the fuse for Graceland’s conception and recording. The landmark album brought together Zydeco Isicathamiya, Pop, and Rock together with themes of social discontent, apartheid, and political upheaval. The album proved controversial due to the South African musicians that appeared on it – there was a cultural boycott at the time which prohibited such things. Against the impositions, rules and hatred arrived one the 1980s’ best albums. Graceland not only bridged cultures and pushed African music to the public consciousness: it stands, in its own right, as a masterpiece. Zydeco and Conjunto elements fused with traditional western music to give the songs a distinctly unique sensation. Simon moved away from a more straight-ahead narrative to focus on more poetic, character-filled songs. Satiric, cutting and abstract at varying points: it provided Simon a new lease of life and put him back in the critics’ good books. A stark and bold departure from Hearts and Bones: Graceland was a phenomenal leap forward and became one of the most successful albums of the decade. Over 16 million copies of the album have been sold and it continues to beguile and influence modern musicians. At a time when cultures and races (in South Africa especially) were balkanised, divided and fearful: Graceland were a unifying, glorious work that was all-inclusive and celebratory. Graceland is an album you can get lost in and transcends time, origin and location.

[youtube https://www.youtube.com/watch?v=zRPfyH72Eeo&w=420&h=315]

R.E.M. – Murmur

I guess it is easy to overlook R.E.M. when compiling a list of the 1980s’ best albums. In 1983, when it was released, R.E.M. were a new commodity and some did not know what to make of them. A record that did sort of go unnoticed among many: it registered with critics and scooped enormous acclaim. Deep, moving and enigmatic. Luscious, black-and-white; completely beguiling. Sometimes front-man Michael Stipe hardly sounded like he was singing: slurring his words and lost in the power and potency of the music around him. Talk About the Passion was a hunger song that addressed famine and poverty. Not as successful and celebrated as it should have been: its lyrics suffered from a lack of decipherability and it only gained full acclaim many years after its release. Radio Free Europe is the standout and most memorable song. Other bands, peers of R.E.M., may have played harder and faster than guitarist Peter Buck but few bands could ever hope to achieve what Murmur did. Stipe’s lyrics, often cryptic and unintelligible, defined the album and sparred muscular and feminine sides; plenty of anger and social awareness – the band arrived from nowhere and instantly made a mark. Future R.E.M. albums would have more jangle, joy and energy (especially Out of Time) but Murmur remains a strange and singular album. Some would argue R.E.M. topped their creative efforts with Automatic for the People but nothing ever quite matched Murmur’s sense of entrance and stripped-down genius.

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

Michael Jackson - Thriller

If you dislike Michael Jackson as an artist (why would you do that?!) then you cannot argue against Thriller and how important it is. Still the best-selling album of all time: it finally broke Jackson to the world and truly established him as The King of Pop. Up until that time, black artists were not often (if at all) seen on MTV. Thriller’s promotional videos, with Jackson annoyed at the lack of representation, turned into huge events and ensured his face was seen by millions. Released at the end of 1982: Thriller, in its peak period, sold over one million copies per week. It seems baffling and intangible in a time where digital downloads seem to have replaced physical purchasing. Jackson, irritated and angered at Off the Wall’s lack of Grammy wins and acknowledgment, dispensed the boy-like falsetto to bring a tougher and meaner persona to Thriller. This was a young man primed and hungry for success and adulation. As such, Thriller’s songs smash, slam and groove. True enough, there are fillers and weaker moments that could have been left on the cutting room floor – Baby Be Mine is often singled as an especially poor choice. Opener Wanna Be Startin’ Something is sizzling, raw and frenzied. Thriller, Beat It and Billie Jean are the three we all associate with Thriller. Iconic, timeless and utterly irrepressible: the sound of Michael Jackson without equal or peers; creating songs that have endured for decades – and will continue to do so for many more. So much can be traced back to Thriller and its influence. Changing modern music and resonating with artists like R. Kelly and Justin Timberlake; ensuring there was greater equality on music T.V. – the list goes on. For an album that does contain a bit of filler: it is amazing that it remains as popular and addictive as it does. That is the power of Michael Jackson and the sheer confidence and songwriting talent that shone through. He would create more consistent albums but none as unstoppable and important as this.

[youtube https://www.youtube.com/watch?v=Zi_XLOBDo_Y&w=420&h=315]

Prince and the Revolution - Purple Rain

The Purple One may (sadly) no longer be with us but his legacy burns bright. By 1984, Prince was one of the hottest and most exposed musicians on the planet. Purple Rain was his masterpiece (others followed) and his music was everywhere. It is understandable why the album registered as such and struck a nerve. The most emotional and dramatic album of his career: every song possesses huge passion and wonderful delivery. Whether seduced by the catchiness and heartbreak of When Doves Cry; the dance, joy and Rock grit of Let’s Go Crazy – there was a song for everyone. Prince went on to win two Grammys in 1985 for the album (Best Rock Vocal by a Duo or Group; Best Album of Original Score Written for a Motion Picture of TV Special) and elevated Prince to new heights. His songwriting talent, guitar brilliance, and vocal dexterity were never in doubt: everything came together and was at his peak here. Selling 13 million copies in the U.S. alone: Purple Rain has sold over 20 million copies worldwide. Prince aimed at superstardom with Purple Rain: he designed and executed the album with that outcome very much in mind. Superbly crafted and brilliantly executed: the nine-track album did just that; made him a peerless, household icon. So many genres, ideas and colours are thrown together with authority and discipline. If you are not hooked by the majestic, sweeping title track that you probably need your pulse taking. Given the ambition and cross-pollination involved: it would be a risky venture in lesser hands. Prince’s sheer talent and drive turned Purple Rain into an almost religious experience – one whose potency helped turn it into one of the finest albums ever laid down.

[youtube https://www.youtube.com/watch?v=gD4F2n9pKiw&w=420&h=315]

Talking Heads - Remain in Light

After the astonishing Fear of Music in 1979: Talking Heads entered the ‘80s with expectation on their shoulders. That album was hugely celebrated and the apex of their career, to that point. Having to not only top themselves but more with the changing demands in music – the band found themselves looking around. Punk was starting to die and change: it was an awkward time for the genre and it was feeling a little tired and predictable. Pop was perhaps too broad for the band so they ensconced themselves in Compass Point Studios, Nassau with a certain Brian Eno in tow. What the band created was an album that integrated African influences and music with heavy percussion leaning and tonnes of rhythm, quirkiness, and idiosyncrasies. Less conventional than their peers: Remain in Light was awash with sparkling, effect-driven strings and bellicose, tribal percussions – all delivered by David Byrne who was in peak creative form. His lyrics were at their weird and wonderful best. Never a literal, predictable songwriter: depth and emotion sit alongside eye-catching characters and surrealism. Once in a Lifetime highlights life’s crossroads and contemplation and hard realisations we all must face; Crosseyed and Painless about a paranoid, urban figure stressed by his surroundings. Byrne wrote a lot of the lyrics in a stream-of-consciousness way; employing free-association. Although the album is the most lyric-heavy and wordy the band has ever created: it is the music and exceptional compositions that stay in the mind the longest. Talking Heads would take three years to follow up Remain in Light: 1983’s Speaking In Tongues would see them embark on a new route and enter a new phase. Remain in Light is not an album reserved for intelligentsia and die-hard Talking Heads fans. It is a ubiquitous, accessible record that has so many nuances it is impossible to ignore or forget it. Decades after its release, the lyrics and themes sound as pertinent and vital as the day they were recorded. Songs that alternately put a smile on your face and see you entrenched in deep thought and reflection: an extraordinary achievement from a truly unique band.

[youtube https://www.youtube.com/watch?v=I1wg1DNHbNU&w=420&h=315]

Madonna – True Blue

You cannot do any feature on the 1980s without recognising the Queen of Pop, Madonna. In 1984, Madonna released Like a Virgin and it was an album that turned her into a global mega-brand. After the assured but shaky-in-places debut: her sophomore record was a genuine hit and its two most notable songs, Like a Virgin and Material Girl, were on the airwaves for months. Madonna not only inspired girls and young women everywhere but came with a certain air of controversy – the title track was seen as especially risqué and impressionable. True Blue came along in 1984 and contained familiarity and evolution. Topics of fidelity and love were there but True Blue seemed a more mature and conscientious record. Looking at real-world concerns and deeper issues: the girl Madonna was turning into a woman. Plenty of fun remained as did red-bloodied sexuality and a definite playfulness. Madonna herself was hitting her peak as a songwriter, performer, and icon. True Blue showed she was more than a one-hit wonder and that spoke to young women coming through society. Rivaling Michael Jackson and Prince as one of the biggest stars of the ‘80s. Of course, the album was not without its share of condemnation and disapproval. Papa Don’t Preach addressed a girl keeping a baby to spite her father’s brow-beating. What shone through brightest was the cohesiveness and variation throughout. Not confined to pure Pop and one-note songs: Madonna laced Latin rhythms (La Isla Bonita) and Dance (Open Your Heart) with stunning balladry (Live to Tell). Maybe a little committee-designed and aimed for the masses: that cannot dampen or disquiet the sheer audacity, brilliance, and achievements throughout True Blue. Madonna would never hit the dizzying heights of True Blue: the moment she became the biggest and most influential female Pop star in the land.

[youtube https://www.youtube.com/watch?v=G333Is7VPOg&w=420&h=315]

___________________________

It is hard thinking about the ‘80s and not smile. It was the decade I was born and remains pivotal for me. I can see some of the downsides and criticisms: there was a lot of terrible music and the appalling fashions hardly did much to give credibility to the decade. If you dispense with that and go further, you do not have to dig much to discover just how much wonder and brilliance was created during the 1980s. Make sure you remind yourself (listening to the albums above) at what quality there was – go further and properly investigate a wonderful time for music. So much of today’s music and the best sounds from the ‘80s-present owes a debt to the 1980s. We should give thanks and be truly appreciative.

FEATURE: The August Playlist: Vol. 3

FEATURE:

  

The August Playlist: Vol. 3

__________________________________

THE talk this weekend will naturally revolve…

around Frank Ocean and his as-yet-untitled-no-idea-when-it-will-drop album. His visual release, Endless, came out yesterday and was met with generally favourable reviews. Muddled and long in places, yet filled with great moments: it provided a real glimmer of light and tantilisation for his new, traditional album. That will be with us shortly, but in the third part of this August feature, let’s have a look at other songs and acts out there. All these tracks are either out or will be out in the form of albums in the coming weeks – a few sneaky peaks into early-September and the musicians who will be unveiling new work then. With a rainy and traditional British day upon us: what better excuse than discovers some great new music…

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BANKS - Mind Games

[youtube https://www.youtube.com/watch?v=5CkqZ5I-xa0&w=560&h=315]

Mouses – Green

[soundcloud url="https://api.soundcloud.com/tracks/277324202" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Fat White Family - Breaking Into Aldi

[youtube https://www.youtube.com/watch?v=2gwEGPqZx2o&w=560&h=315]

Pixies – Talent

[youtube https://www.youtube.com/watch?v=-BREFFQi8U0&w=560&h=315]

Crystal Castles – Fleece

[youtube https://www.youtube.com/watch?v=GfB4BQQcoKM&w=560&h=315]

Stormzy - Birthday Girl

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

John Paul White- What’s So

[youtube https://www.youtube.com/watch?v=CPdDwsKH7kc&w=560&h=315]

Ed Harcourt-Dionysus

[youtube https://www.youtube.com/watch?v=T3b48tADb1E&w=560&h=315]

The Veils - Low Lays the Devil

[youtube https://www.youtube.com/watch?v=-THaAP322TU&w=560&h=315]

Cass McCombs – Opposite House

[youtube https://www.youtube.com/watch?v=AT8RItt5Rd0&w=560&h=315]

Lydia Loveless - Longer

[youtube https://www.youtube.com/watch?v=LmnBTd3qcKg&w=420&h=315]

Scientists - Bet Ya Lyin’

[youtube https://www.youtube.com/watch?v=hPOXFSzx3B8&w=560&h=315]

Lisa Hannigan - Fall

[youtube https://www.youtube.com/watch?v=bYubEn15eH4&w=560&h=315]

Ages and Ages - They Want More

[youtube https://www.youtube.com/watch?v=O0bKmQyuUVc&w=560&h=315]

Bayside - Pretty Vacant

[youtube https://www.youtube.com/watch?v=EANe4AGZhfU&w=560&h=315]

Glass Animals - Youth

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

Beach Baby – U R

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

The Divine Comedy - Catherine the Great

[youtube https://www.youtube.com/watch?v=S4V7WBq72Gg&w=560&h=315]

Zomby - Her

[youtube https://www.youtube.com/watch?v=miqu9V_HZvE&w=420&h=315]

Helms Alee - Untoxicated

[youtube https://www.youtube.com/watch?v=OkkIQPfPyT8&w=560&h=315]

The Album Leaf - Between Waves

[youtube https://www.youtube.com/watch?v=6WOciOo59m0&w=560&h=315]

Cassius (ft. Cat Power) - Feel Like Me

[youtube https://www.youtube.com/watch?v=07XPDqZc1ss&w=560&h=315]

September promises some bumper releases and who knows what singles will be revealed prior to that? It has been a productive and exceptional last month for music and so many terrific songs have made their way to us. Frank Ocean is creating waves and whatever comes, it is sure to be met with a flurry of fevered praise and excitable proffering. The weather is pretty unpredictable and harsh so it is a great time to close the window and surrender to some of August’s finest new tracks.

TRACK REVIEW: This Modern Hope - The Storm

TRACK REVIEW:

 

This Modern Hope

  

The Storm

 

9.5/10

The Storm is available via:

https://soundcloud.com/thismodernhope/the-storm

ORIGINS:

London, U.K.

GENRES:

Alternative-Rock; Indie; Art-Rock;

RELEASED

August 2016

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THERE are not many musicians that can…

come from a well-respected, established band; see it dissipate and then re-launch themselves as an impressive solo artist. I shall come to my featured artist This Modern Hope but is worth addressing that first point; looking at the art of blending moods/genres; a bit about the understated value of intricacy and beauty in music – and how hard it can be with regards originality and effectiveness. I have mentioned before, but I’ve seen too many great bands consigned to the musical scrapheap. Whether affected by inter-band tensions or a natural end: it is always heartbreaking seeing it happen. In the mainstream, The Maccabees recently called time: one of the most promising and interesting bands Britain has produced the last few years. I guess music is challenging and unpredictable, and hopefully, This Modern Hope’s Rob Payne won’t mind the discussion, but one is curious what causes bands/acts to crumble – maybe finding ways to avoid it perhaps. In the modern climate, there are more and more musicians coming through by the week. The accessibility and easy, D.I.Y. approach to music have made it easier and more cost-effective to produce your own songs. To this extent, the existing artists about are having to work harder and getting less attention. The music industry should be open-doored and impose no borderers and checks: if we discourage artists and people coming in then we are likely to lose a lot of talent and wonderful music. I just fear some bands, who have high hopes and look set to go the distance, are needlessly struggling and having to think of a Plan B. If you expand this theory out; you see a lot of venues and clubs closing too. Even in London, with the money and opportunities available, there is little security and assurances. Maybe it is the way of the world but I’d like to think we see fewer great acts (and music venues) going under for very little reason. If your members are fighting beyond the point of repair or you lose that passion, then that is fair enough. I know, from speaking with former bands, it is issues like finance, gig availability and lack of promotion that is causing them to split. In this time, there seems little excuse for not promoting bands: social media is easy to use and designed for that sort of thing. Perhaps the smaller towns provide few platforms for new musicians but the larger cities should be well-stocked and set-up to accommodate the rising demand. It is, as with many rants/issues I provoke, perhaps best discussed in future. I mention this opening topic because This Modern Hope’s Rob Payne was former member of the band The Bedroom Hour.

That band was hugely praised and respected because of their widescreen songs and wonderfully rich tapestries. A cross of Elbow-cum-Doves Art-Rock and dreamy, cinematic swathes: their break-up sent shock-waves among their fans and some media avenues. Out of the dust of The Bedroom Hour came Rob Payne’s This Modern Hope. Before I carry on; it is time we are introduced to the aforementioned venture:

“This Modern Hope, the new solo project from West London musician and producer Rob Payne, is ready for take-off and poised for success. Drawing on influences such as Death Cab For Cutie, Doves and his brother's record collection, This Modern Hope's sound is classic yet fresh, switching seamlessly from up-tempo, driving rock to stirring ballads, Rob's soulful voice floating effortlessly over the melodies as the beats flow. Lyrically deep and with a heady vocal intricacy, the songs come straight from the heart and leave a lasting impression that words can't describe. With a strong musical pedigree, masses of talent and a little help from some friends, This Modern Hope's tunes are ready to be heard”.

I will not theorise why The Bedroom Hour are no more (we will just mourn their passing) but instead celebrate the success and rise of This Modern Hope. I know, from following the social media feed of Payne, there was some doubts whether new music would be made and whether he’d be able to rekindle that passion. What strikes me about This Modern Hope, and some of the best artists out there is the seamless ability to blend genres (often disparate) and make it sound natural and entrancing. It is quite a risky venture with regards cross-pollinating and it can often be a failed venture. So many artists, in a bid to sound original and fresh, put wide-ranging moods/genres together in a hope it will just hang together. It takes a very special artist to be able to do that so caution should be exercised. One of the most commendable facets of music is when someone can take dreamy, sea-swimming gracefulness and unify that to a harder, more driving element – and create something new and hugely atmospheric. This Modern Hope, while retaining a touch of Elbow and Doves in the mix, conjure something enticing and vivid; symphonic and rousing. Payne’s experience with The Bedroom Hour has prepared him for This Modern Hope: if anything, his new project is even more impressive and commendable. With the help of friends and that determined, singular vision: he can lace reflection inside joy and a light under an ocean of shadows. I hear a lot of promising and hungry Rock acts but feel they do not possess relevant variation and malleability. This Modern Hope shows how things should be done. You get bristling, electric strings but within, there are subtle shades and emotional elements – a much richer and broad palette at work.

Those who see the words ‘beauty’ and ‘passion’ in music will have a few reactions. They may see those words as tropes and overused terminology. Others might have clear views of what they can expect; others will bridle and assume something saccharine, treacly and unappetising. There are musicians that aim for something emotive, spine-tingling and blood-rushing and come up hopelessly short. What This Modern Hope does, and other like-minded colleagues do, is parabond accessibility with rarified. You get appealing, stays-in-the-brain lines but with it, something delicate and balletic – hard to define and very special. Beauty and romance in music is portrayed in all manner of ways and can, depending on the artist, be a success of failure. I am a huge fan of instant, raw songs but always love being washed away by something evocative and poised. This Modern Hope’s urbane, opulent and captivating songs take you to far-off lands are across oceans; they deal with everyday emotions and inner-reflection. Payne is showing how consistent and variegated he is as a writer and musician: let’s hope this productivity and creativity continues for many years. After adapting to a life sans bandmates: the solo endeavor creates its own struggles and obstacles. A lonelier, more autonomous way of existence: This Modern Hope has ridden the waves and shown immense fortitude and ambition. The Storm, having been out for a little while now, proves what a true and unique musician Payne is.

This Modern Hope’s music has always been built on a foundation of beauty and building emotion. If one looks back at The Abyss. Released late last year: the song was one of the very first offerings from This Modern Hope. Squalling, rain-lashed guitars opened it and the driving percussion gave it a definite urgency. The vocal has pain and anxiety but there is a luscious, romantic quality to it. It (the abyss) is here for our hero and there seems to be that air of expectation and acceptance. One hopes, throughout all the song, that there will be redemption and hope – maybe a romance or chink of light that will pull him back. Friends and allies are gone and it is n uncertain and dramatic mood being painted: you get moved by the power of the song and everything going on. Guitar flecks, sparkles and elicits diamonds of fire and a raw, Blues-like quality. Percussion keeps steady and ensures the song has a solid backbone and sense of consistency; different lines, elements, and interactions work around the two – such an evocative and vivid creation. I pictured an empty city and our man walking the streets in search of comfort and answers; ravaged and hit by the conditions and weather – such a bracing and head-spinning song. Few artists come in that confidently and compelling but, with the previous experience under his belt, it is maybe not too unexpected to hear such authority from This Modern Hope.

Ship on the Ocean, like its sister tracks, has that trademark echo and low-fade intrigue from the early stages. Graceful, soulful pianos and subtle electronics fuse to give the song an early gravitas and quality. You instantly go to the ocean and picture a lone vessel traversing the waves. The guitars whip up and skip along with a definite jauntiness – never too racing or aimless; always keeping perspective and balance. More positive and open than The Abyss: it shows a new side to This Modern Hope and takes the listener in a different direction. Embroiled with so many emotions and possibilities: it is hard not to be engaged with the composition and start to envisage various outcomes and scenarios. Away from the ship-based storyline; our hero’s professions of youthful indiscretion change perception. Opening his mouth and saying words with little consideration for recourse and consequence – perhaps a rebel or someone who was not as caring as one would hope. Payne’s has an element of Guy Garvey and you detect Elbow’s frontman in his dramatic and burr; a little bit of Noel Gallagher too. Our hero is a ship on the ocean and seeking stability and reliability. It seems, the song’s subject/heroine, is the only one he can rely on. Perhaps speaking to a sweetheart or a good friend: it appears many have abandoned our man and left him feeling jaded and scarred. Elongated his words and putting so much potency and power into the delivery – one of the most affecting and emotive songs from This Modern Hope. It is a different direction from The Abyss but still has some pain and loneliness at its core. Ship on the Ocean, like other songs in This Modern Hope’s cannon, possesses an exceptional composition and so much going on. With strings, electronics, and percussion; it is almost a film-like presentation: sweeping, haunting and lustful in equal measures.

The Storm progresses from previous songs and is the most confident and stunning creation from This Modern Hope. All the usual components and dynamics are in place – the sweeping composition and assured, soulful vocals – but there is that tiny lift in quality; all the elements are more focused and glistening – the overall effect more profound and nuanced. Like previous numbers: there is that weather-beaten, emotion-drained centre with semi-symphonic composition – ensuring existing fans find familiarity and consistency. For any new followers: so much to discover and a wonderful song in its own right. Let’s hope The Storm leads to more creativity from Payne’s This Modern Hope and an E.P. or album. I could easily see an L.P. emerge and a 10/11-track collection of songs from the London musician. It seems like This Modern Hope has plenty of ideas and motivation and it will be exciting to see what the next few months hold in store. With inspiration bands like Elbow, Doves and Death Cab for Cutie either inactive or on hiatus: there is a definite gap in the market for the kind of music This Modern Hope is putting out there. I notice a vacuum and need for something that provides chills and shivers but gives the soul and heart nourishment and tenderness.

A sentiment of breeze and storm opens the song and is subtle and building. Almost too slight to hear: the song begins to grow and expand as the guitars raise and campaign. Almost like the rain starting to pour down: the strings are never too heavy or fast but have a definite strength and impact to them. Like early songs from This Modern Hope: the vocal never comes in too quickly; apt for the composition to work and create imagery – always compelling but never giving too much away too soon. You become involved and fascinated by the song right from the start and wonder where it is going to lead us. The guitar has subtleness and melody but there is an aching, yearning quality to them. Many songs go in hard and feel the need to throw weight and heaviness in; the hope the listener will be braced and strong-armed into liking a song. This Modern Hope shows more consideration and allow songs to speak for themselves and gentle make their way into the consciousness. The storm has “already begun” and they have to move. Whether talking about a lover or friends trapped by the incoming threat: there is a definite tension and urgency right away. One listens and wonders whether it is as simple and clear-cut as first imagined. Maybe there is a literal storm or maybe it is a metaphor for something else. Perhaps an argument or change of culture; a desire or harsh situation: your mind will think of various possibilities and what is being attested. Payne’s vocal is backed by a sturdy and thumping beat that presents footsteps, rush, and wind; the guitars fade slightly but still keep keen, sharp and imperious. Our hero is a pastor and leader who is giving advice to the people and preparing them for the imminent storm. Hide behind the tables and brace yourself for what is to come. Again, I was thinking about something other than a literal storm and took my imagination elsewhere. That is the beauty and power of any great song: it gets you thinking beyond the literal and conspiring. Payne’s tremulous, firm voice brings the words to life and gives them so much decorum and sobriety. Never rushing or needlessly overpowering; always restrained and mature – it ensures the lyrics are clear to understand and are giving the maximum amount of respect and consideration.

Knowing “we can’t go back” and the situation is too fraught and dangerous: you cast yourself in the song and are affected by its physicality, grandeur, and evocativeness. Almost accepting that life will change and there is no real way to remain, Payne’s vocal is solid but there is weariness to it. Nobody can deny the atmosphere and conviction of The Storm. It is not a song that sits back and lets the listener do all the leg work when it comes to imagining and connecting the dots. Despite the level and typical Payne vocal prowess; here, there is plenty of fresh determination, power, and depth. One of the staples of This Modern Hope is the intricacies, vocal nuance, and layers to that instrument. Payne does not simply replicate what he has done across previous singles, but instead, provides one of his most compelling and affecting performances yet. Just as you become too invested in the lyrics, the composition steps in and provides movement and development in the story. From the desperation and warnings that have been provided; you know have a break where the strings and percussion step in. The sound of the building mood and what is to come: it is a blend of nerviness and strange calm; an underlying uncertainty for sure. It is a short parable but one that bridges the verses perfectly. Never outstaying its welcome or being too concise: you are afforded the chance to direct the story and dictate where the song is headed. When Payne comes back in, there are more cautionary tales and sage advice for those fleeing. The fires are raging and it is best take what you can – leave any other possessions where they are. The Storm is a song that has those stark and apocalyptic lyrics but the compositions remains, by comparison at least, strangely calm and controlled. Other bands, if they were to write a song like this, would throw intense solos and pummeling percussion in and maybe dampen and distill the effect. The Storm is something that always intrigues the senses. Following the lyrics and jumping into the song: it is impossible not to feel a bit of fear as the lyrics grow heavier and more agitated. Repeating that message to leave and flee: Payne’s voice starts to rise and becomes more dramatic; perhaps realising the situation he is in. Again, I was not thinking about literal situations and cast my focus outside the circle. Yes, there is the possibility of a real-life storm and something as simple as that. It is hard not to dig deeper and think about other avenues and digressions. Perhaps there is a nod to a relationship breakdown or a general shift in music culture- subconsciously or not; the song is not as straightforward as you’d imagine. Maybe I am over-thinking and looking down rabbit holes, but This Modern Hope does that to you. Great songwriters are those that can keep their songs relatable and accessible but have more than one direction/explanation.

After the repeated warning and increasing desperation, there is another compositional passage that ensures things do not get too heavy and intense for the listener. Similar to its predecessor, there is lightness and grace but enough unsettle to ensure the story keeps its intensity and anxiety firm. Percussion slams, pitter-patters, and rolls to give the impression of thunder and wind. Those strings keep lashing and giving ideas of rain and gust. Around it, there is a general aura of downpour and gales that is hard to escape. One speculates at this stage what compelled the song and whether there was a particular inspiration. Like I said with regards emotional and romantic possibilities: was there an event from Payne’s life that caused him to put pen to paper and create The Storm? It is another terrific and compelling track from This Modern Hope and a perfect album closer. I hear whispers there might be an album and if that is forthcoming, I could see The Storm being its finale. I say that because the song’s final minute finds the compositions accelerating and becoming more detailed and busy. Everything starts to race and there is a distinct move through the gears. You can feel the storm coming in and there is nowhere to run. Maybe the song’s characters evaded the worst and managed to find a shelter. It is a curious and gripping track that will leave you guessing and get you repeating it in search of conclusion and answers. As The Storm ends, the guitar notes repeat in a mantra-like quality and enforce their sound. Perhaps indicative of the rain or trying to punctuate a particularly stern expression: it a huge effective closing and one that will leave question marks and possibilities. Whatever the true origins of the song and the truth in Payne’s mind; every listener will get something different from it and have their own interpretations. The Storm has a similar feel to tracks like The Abyss but I feel This Modern Hope have created the finest song yet. Perhaps it is the story or the details in the composition but I found myself revisiting the song and trying to get to the heart of the matter. At its face, it is a simple song about outrunning a storm but there is that lingering doubt and potential something else is being assessed.

I dedicate this section of a review not only rounding things up but predicting the artist’s future. Starting with the latter: it is an exciting time for This Modern Hope. An impressive collection of singles under his belt and a (seamlessly) unlimited supply of avenues and stories. Following This Modern Hope’s social media pages; it is clear more music will come but what form will that take? The Storm is a typically assured and impressive piece from This Modern Hope that will surely get people talking and speculating. Perhaps there will be an album coming this year (there are photos to suggest there are), but for now, it is great hearing This Modern Hope in top form. With Payne, as one experienced during The Bedroom Hour’s regency, was his multi-discipline prowess. Every aspect of his musicianship and performance struck you and evoked some sort of emotion. So many musicians are sterile and faceless that it leaves you a little weary and disappointed. Every track Payne puts his name to seem to drip with emotion and has that atmospheric and cinematic blend. London is filling up with so many tremendous musicians and This Modern Hope can rub shoulders with the best of them. I am sure there will be gig opportunities afoot but, knowing Payne’s current schedule, he will want to get his music (and The Storm) to crowds and keep as busy as possible. The capital is a demanding mistress and does not guarantee platform and finance to all musicians who play here. I have witnessed too many undeserving and cliché musicians gain success and huge fondness – those that are worthy of success have toiled and had to fight very hard. This Modern Hope has a loyal and dedicated fanbase that is deserving of augmentation and multiplication. There are not many artists that do things the same way and paint pictures (like This Modern Hope). The Storm might provoke scenarios of violence, disorder and disturbance (which you get to an extent) but so much more is brought to the mix. One struggles to properly define the musical and components incorporated. This Modern Hope has that knack of pairing simplicity and accessibility with complexities and fine details. As such, it is important that This Modern Hope’s music is given wider regard and brought into the public consciousness with greater determination. Payne is doing his very best but it is down to social media followers and new fans to become proactive and engaged.

No matter what plans are afoot, it is clear – from The Storm’s huge force and nuances – that This Modern Hope is poised for future success. Payne has a good network of friends and musicians but it is his sustained vision and singular talent that keeps pushing through. It is, as I suggested up-top, a blend of moods and a nod to beauty that sets him aside from a lot of his peers. In a time where too many go straight for force and momentum (opposed to reflection and restraint) it is commendable This Bedroom Hour subvert the need to explode and whip out needless guitar solos. Those thinking reflection, evocation, and grandeur are uncool and ineffective would do good to spend some time listening to artists like This Modern Hope. To conclude, then. The Storm is a definite beauty that has a very instant and obvious impact but the more you play it, the more you get from it. Various passages, compositional elements and moments stand out (where they were quiet before) and the song gains new light and splendor. Call it nuance or talent: This Modern Hope should be part of your regular playlist; songs that nullify the petty dramas in life and engulf around you – bringing you into song and easing the mind. Keep updated on all the social media goings-on (links below) and ensure artists like Rob Payne’s This Modern Hope…

IS provided plenty of support and love.

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Follow This Modern Hope

 

Official:

http://www.thismodernhope.com/

Facebook:

https://www.facebook.com/ThisModernHopeMusic

Twitter:

https://twitter.com/thismodernhope

Instagram:

http://instagram.com/thismodernhope

SoundCloud:

https://soundcloud.com/thismodernhope

YouTube:

https://www.youtube.com/channel/UCoezfwi011FeoW9kzzAqDaA