FEATURE: The Marshall Mathers LP: Time for Reinvestigation?

FEATURE:

 

The Marshall Mathers LP:  

 Time for Reinvestigation?

________

IT might not be the album of his that gets the fond recollections….

of The Slim Shady LP but, in terms of its stature and legacy; I feel The Marshall Mathers LP is a superior listen. Whatever you think of Eminem; you cannot deny what a talent he is. In February 1999, we received The Slim Shady LP and, from its violent and distrusting cover; one knew they were not going to experience an ordinary album. Trailer-park trash and over-the-top violence were all included in this theatrical piece from ‘Slim Shady’ – the alter-ego of Eminem (which, in turn, is the alter ego of Marshall Mathers III). Critics reacted with a mix of mock-horror and genuine amazement: others went for revilement and moral outrage. That album separated and divided critics but, putting retrospective acclaim into the mix, that L.P. was a huge triumph. The lyrics concentrated on domestic violence, anger felt by Eminem and fighting against poverty – the man behind Slim Shady grew up in poorer climbs and had to work his way to success. It is understandable Eminem would spit and rally against an older life – the fact he reserved so much venom for women was baffling to many. At the time, Eminem claimed not to hate women at all – he was angry at them sometimes but it was all part of his persona. Anyone who looks at the album’s reception could see critics reacting to the quality and confidence of the lyrics: the controversy and alarm of the subjects addressed.  Regardless of any negative reactions; The Slim Shady LP has been placed on many critics’ ‘Top 100 Albums Ever’ lists and, at the time, did very well on the end-of-year lists (1999). Standout hit My Name Is won Best Rap Solo Performance at Grammy Awards; the album sold 283,000 copies in its first week – debuting at number two on the Billboard 200 charts (behind TLC’s FanMail). The disaffected youth felt the album articulated their sense of frustration and confusion.

Eminem, through Slim Shady, represented an anti-hero unafraid to vocalise his inner-demons and violent fantasies. Eminem ended the 1990s with a stunning album that created a huge stir and marked him as one of music’s leading lights. Whether you agreed with his attitude and songs; there was no denying how talented he was – and is to this very day. He leapt into the '00s with his record, The Marshall Mathers LP. If Eminem’s earliest albums was the artist known as ‘Eminem’ projecting one persona – and Slim Shady being a cartoonish and exaggerated form of Eminem – then Marshall Mathers was the eponymous album in many ways. Take away the ‘III’ in his name and it is the twenty-seven-year-old Missouri artist at his most personal and electrifying. Two months ago; the album marked its seventeenth anniversary: it seems amazing it was released that long ago. The reason I wanted to write this piece is that Eminem is taking to the stage at Reading and Leeds very soon. He will, no doubt, perform songs from across his career but one wonders how many of The Marshal Mathers LP’s songs will be included. To me, it is the height of Eminem’s career and a record we need to hear more of in this day – THAT is, perhaps, the real reason for creating this feature. Rather than being retrograde and conceding: the American artist strove forward and released an album ever more venomous and urgent than its predecessor. It might seem foolhardy celebrating an album that has so many burdens and issues. One could say The Slim Shady LP was a fictionalised version of Eminem – not someone who would ever realistically espouse the same questionable values of his alter-ego. If that is the case – shady logic from Slim Shady – then how could one rationalise and pardon The Marshall Mathers LP?! In fact, me not doing the maths right, this was Eminem’s third album. One could argue he had not really decided on an identity at that point – three different monikers in as many records. That seems symbolic and appropriate for a young man who, one suspected, as recent as a few years before was moving between towns and homes. If The Slim Shady LP was the promising rapper focused out and attacking: The Marshall Mathews LP was more introspective and investigative.

Having had fame thrust upon him; many would forgive him for creating and creating a ‘safe’ and mainstream album. How could an album that garnered a lot of criticism from certain reviewers have connected so much with the public?! The record sold nearly two-million copies in the U.S. (in the first week) and was, at that point, the fastest-selling studio album by any artist in American history. The album won Best Rap Album at the 2001 Grammy Awards and lost out on the biggest prize to Steely Dan’s Two Against Nature – two more-different albums one cannot possibly imagine! The Marshall Mathers LP has sold over 10 million copies in the U.S. – over 32 million around the world. The second part of The Marshall Mathers LP was released in 2013 and did not perform as well as its 2000 predecessor. What attracts me about The Marshall Mathers LP is its sheer scope and quality. I will address the controversy surrounding the album but the songs themselves are extraordinary. I listen to a song like Kim – a track about his then-girlfriend, Kim – that ends with Marshall Mathers strangling his lover. They argue and shout. Eminem screams throughout and launches a tirade of abuse against her – feeling they would be together forever but knowing she was going to leave him. It is one of the most intense and shocking songs in music history. One can only imagine how Eminem got into the mindset to perform the song in the studio. It would have taken immense mental preparation and rest – the sheer physicality of the track would flaw most singers. Dr. Dre produced most of the album’s first-half. One can hear his touch and guidance on songs like Kill You and Stan. The songs came together through creative binges: Eminem embarked on a two-month-long residency in a studio where he blocked out the rest of the world – keen not to be distracted and feeding off the isolation of the studio.

Songs would often sprout from overheard conversations and chance moments – Kill You was penned when Eminem, heard the track playing in the background as Dre was on the phone; Eminem went away and wrote the lyrics as the two joined to finish the song. Stan is that brilliant story of an obsessed young fan who does not hear back from his idol. Badgering and belittling the star for ignoring his fans and leading him on – a brief nod or conversation warranting harassment, it seemed – that leads to the troubled fan driving his girlfriend into a river. Eminem/Slim Shady was, as he explains, busy, but replies to the fan’s letter. The opening-half is the narrative from the fan as he chides and scorns the singer. That is switched after as Eminem takes to the microphone and offers caution to the fan – who seems suicidal, homicidal and unnervingly attached. It is a brilliantly written and realised song that went to number one in eleven countries. That famous sample of from Dido’s song, Thank You, gives the song its edge and uniqueness. One expects that exert to lead to the chorus of Thank You – thankfully, it is a beautiful bridge between verses. That said; the two work well together despite the fact, one suspects, they were never in the studio together. Skits like Steve Berman sees the artist hauled into a record boss’ office to be eviscerated for the album’s content – and the fact nobody is going to buy the record. The Way I Am and The Real Slim Shady look at identity and authenticity. The former is an unapologetic explanation of Eminem’s raw and untamed vocals; the fact he courts controversy and seen as a pariah among some critics. The latter calls out those who imitate the American rapper – harking back to his previous incarnation – and weak imitations. It was another huge hit and incredible highlight from the album.

Amityville, with its refrain “Mentally ill from Amityville…”, is a hypnotic track which features form the input of the Bass Brothers. Those Trip-Hop beats give the track a real swagger and danger; Eminem’s vocal commanding and astonishing throughout – the lyrics consistently impressive and memorable. The entire album is the commingling and peak of Eminem’s powers. The compositions are inventive and kaleidoscopic: ranging between genres and putting samples in; heavy beats and guitar riffs sitting with more traditional Hip-Hop/Rap sounds. It is an infectious and peerless work from an artist who was venting his frustrations and creating a work of art in the process. Many would say, on the flip-side, how can anyone admire an album that seems to promote violence against women?! On The Marshall Mathers LP; one discovers tales of murder, rape and threats. Nearly every song features some form of brutalism and criminality. It is a stark and black album that spews blood and guts from every verse. One could overlook the weaponry and murder rages – aimed at critics and contemporaries. Hip-Hop has always been marked by a certain songwriting inspiration. It is not unusually discovering heavy and hard-hitting songs in this genre – often, artists would boast and brag about violence. That is a different issue but it is the seeming misogyny and attitude to women that repulsed many at the time. There is homophobia and racism and, in an album that is meant to inspire and represent Rap/Hip-Hop; should we really ignore the obvious flaws?! To exacerbate this; former Senate chairman Lynne Cheney decried the album and the degradation against women. She highlighted songs like Kill You as especially worrying and culpable. That number boasts about rape (against one’s own mother, no less) and murder. Cheney argued there should be an age limit on the album – so it does not find its way into the hands of young and impressionable listener.

That song gathered more approbation as Eminem was scheduled to perform in Canada in 2000. He was banned because of his attitudes to women and advocating violence against women – other suggested he should be allowed to perform and arrested for hate-crime offences. Eminem argued he was being persecuted and merely exercising his right to free speech. Perhaps the morals and tolerance levels differed between the U.S. and Canada – the more polite and moral-heavy nation finding little merit in Eminem’s brand of music. A 2001 and 2004 study by Edward Armstrong discovered the majority of songs on The Marshall Mathers LP contained violent and/or misogynistic values/lyrics. Throat-slitting, drowning and rape; murder, shooting and beating. Maybe, in order to top the competition, Eminem felt it necessary to go full-throttle – never had an album of this kind contained so much hate, violence and bloodshed. Eminem predicted some of the furore that would be generated in cuts like Paul – an exasperated friend leaves a message on Eminem’s answerphone to say he’d heard the album and, lost for words, hangs up – and he knew how it would be received. At a time when we sexism, racism and discrimination are as rife as ever: should we really be talking about an album like The Marshall Mathers LP in fond terms?! Retrospective reviews have heaped praise on the record and stripped some of the self-righteousness and hysteria experienced in 2000. Sure, there are questionable and loose morals throughout the record; the author could have toned down the cuss and disgust on some songs. The fact is that Eminem was not suggesting people go out there and kill. He was not sending subliminal messages and saying everything you hear on the album is his views. It is, like previous albums, a mix of fantasy and truth. Before the album was released – and the years after – Eminem did not commit murder and go out beating women on a nightly basis. He is, as you will see in interviews, quite humble, shy and reserved. A fiercely intelligent man; it is a stark contrast to the man we hear on the album. Albums made by Dr. Dre and his contemporaries, around the time, contained braggadocio and boast: the promotion of a lavish lifestyle and sporting bling. Dre is no more a reviled figure nor is he any less controversial (in person) than Eminem. Both artists are morally aware and conscientious but Eminem chose not to follow the standard path trod by peers at the time. He wanted to project something that reflected the anger he felt in the wake of The Slim Shady LP’s release – and the fame he accrued from that. Depending whether you agree with the lyrical content and themes contained on the album: few can deny what the album was going to sell big and get some great reviews. It has gone on to be one of the most influential records of the time and, according to many at the time, was the most important record of that era. Eminem has, in my view, not topped The Marshall Mathers LP.

It arrived at a time when the young rapper was finding his sound and having to live under the constant scrutiny of the media. Because of that, he either had to step-up or take a step back. Attacking the problem and spewing through the microphone; it is an incredible response from Marshall Mathers III. It is an album I go back to time again and feel we should hear more of today. Aside from artists like Kendrick Lamar and Beyoncé; there are few artists that can throw so much into an album and keep their messages on-point and inspiring. So much of today’s Rap and Hip-Hop is defined by lazy lyricism, clichés and old messages – the boasting and arrogance; bragging about wealth and success. Few albums stand out. Aside from Kendrick Lamar’s DAMN.: I have not heard an album this year that really goes for the throat. The world is in a more perilous and confusing time than ever. We need someone like Eminem to step up and get both barrels out. When he takes to the Reading and Leeds stage next month; it will be interesting to see how many of The Marshall Mathers LP’s songs make it into the sets. Whether Eminem makes another album will be another fascinating consideration. He will never reach the heights he did on his 2000 masterpiece so, because of that, we need to preserve the record and realise what an accomplishment it was. The recurring homophobia and misogyny still causes criticism but, strip away lyrics that certainly were not endorsed by the man behind the album – who is, as we know, not someone who beats women and has, since the album’s release, has stated he is not homophobic – and you have one of the finest albums of the past twenty years. Its sheer range and quality is deserving of a new audience and fresh ears. If one is impressionable enough they will hear the album and follow it to the letter – they should not be let near music and out in the world. The Marshall Mathers LP is a mesmeric album from a man who ensconced himself in the studio and wanted to create something worthy of his hype. He certainly did that but, with it, went on to release one of the most-talked-about and important albums…

IN the history of music.

FEATURE: The Open Diary of a Music Journalist, Aged Thirty-Four-and-a-Sixth

FEATURE: 

PHOTO CREDIT: Sam Liddicott

The Open Diary of a Music Journalist, Aged Thirty-Four-and-a-Sixth

________

THIS piece is a way of updating people on my…

PHOTO CREDIT: Sam Liddicott

approaching articles (or procrastinations) and a little bit of guidance to any fellow/upcoming journalists. In the approaching weeks, I will be putting out a fair few pieces and reviews. I shall update you regarding reviews and interviews when they come back to me – suffice to say; they cover various genres and nations. It is the features that are, perhaps, the most intriguing. At the weekend, I want to come back to the Mercury Prize – having just put a piece out about the shortlisted artists – and whether it has the cachet and true spirit to represent the best of new and established British music. Many are divided over the nominated artists this year and wonder whether the emerging artists included are being overshadowed by the ho-hum ‘more-established’ acts – if you are including bigger acts; the quality needs to be up there and firm. It seems there is a polemic argument and desire to, in a sense, redefine and rebuild the foundations on which the Mercury Prize was built. Also, and perhaps, more controversially – if that is at all possible – I will talk about Eminem’s career-defining (in my view), The Marshall Mathers LP. As Eminem has a prestigious spot at Reading and Leeds very soon: I wanted to evaluate this album and whether, in a way, it is a record that needs to be replicated – given the energy, genius lyrics and huge command. It has controversy: homophobia, misogyny and domestic violence; a terrifying thrill-ride of guys, blood and spit; a chasm of dark and shafts of light – wit, jokes and impressions all throw in. Merely backing and providing laudatory support to such a record will provoke criticism and disapproval – that, in a way, is what Eminem wanted to happen. The album has grown into a teenager and, given the seventeen years since its creation; I argue whether any modern act has reached it dizzying and dangerous heights.

PHOTO CREDIT: Sam Liddicott

Alongside the intense and deeper pieces will be some light and less provocative. It has been a hectic and whirlwind past few months for me. The last weeks, especially, have been really dizzying and rushing. I have put up more articles in this time period than any other time – the productivity rate is huge and the fingers are getting sore! Long-term, I want to develop my Jeff Buckley documentary and start getting that kicked-off. I will launch a Kickstarter campaign and ensure people are recruited – get production staff hired and begin planning. From there, I want to spend time developing my long-planned music website and making that a reality. It will a huge undertaking but one, when done, that draws decades of sensational music to one site; all the software, streaming services and social media a music-lover/musician could want and endless options and avenues. I am pumped imagining it so will ensure there is something more tangible on the plate before too long. Alongside this, time-willing, getting my interview series going, too. It is a filmed series, Acoustic Vinyl, that puts me into a space (I hope to book the Nightjar bar in London) with various artists, music people – D.J.s/producers/writers and creative talent – and launch a relaxed, unique series that digs deeper but has a lot of fun and relaxed vibes in it. These all seem like lofty and expensive realisations and, in a lot of ways, they are. It will take a fair bit of revenue ensuring these visions are made physical: I am prepared to work for it and, where needed, crowd-source and hope the people will assist. I want to write a lot and keep those features, interviews and reviews flowing…

PHOTO CREDIT: Unsplash

The ambition, going forward, it to ensure this work ethic and commitment leads to something. I want to – he says; with his head in the clouds – work as a producer/music news journalist for BBC Radio 6 Music, one day. I think that is the ideal for any self-respecting music-lover. To work for an esteemed and reputable station: one that delivers the hottest new artists and best-quality older sounds has a lure and attraction that one cannot resist. I’d love to balance that with my blog duties – expanding the site and having more filmed/elements; getting a YouTube channel together and looking more into the business side of things. Going back to BBC Radio 6 Music and who wouldn’t want a weekly show there – like Jarvis Cocker’s Sunday Service, perhaps?! This, yeah, is pretty far-off but I feel I am more qualified than I was a couple of years back – maybe a few months ago, in fact! Essentially, London is the first place I want to move to – that need to get to the city and its wonderful, finer humans, is more nagging and desperate than ever! Manchester is attractive and, if I could commute and work in both cities, that would be bliss. Many might scoff and say it is all pie-in-the-sky-thinking and someone with their head somewhere less fragrant and open-aired as the clouds. I have been writing on my blog for almost six years so this has not come overnight! I would urge anyone with an interest in music to start a blog and get something started. Music is one of those industries whose growth will never slow. Unlike ‘normal’ sectors; the employment rate, as it was, will rise without abatement and discipline. More and more folk are coming into music: all of them will need a review and feature at some point!

PHOTO CREDIT: Bigstock

Music journalism is not lucrative and it might take a long time before you can monetise your work. I will touch on this over the weekend – I am writing a piece about money in music and whether survival is guaranteed for musicians/writers – but would always encourage wannabe writers to get a blog started. If you are an aspiring writer; get a blog on WordPress or wherever and start contacting bands/artists you like. It might only be as simple as conducting a small interview – I send questions and type my interviews; which makes it easier and more flexible for me – and that is a good start. You share that on social media and people see it. The musicians’ followers and contemporaries find your work and will, if you are lucky, contact you. I cannot tell you the buzz I get from seeing my inbox full of interview/review requests. Sure, it is a lot of work – and my hands are pretty sore most of the time (joking aside: it is not that bad) – but the rewards outweigh any aches. Bit-by-bit, the reputation builds and you get bigger names coming your way. It may be a while before I ascend the stairs to a desk at BBC Radio 6 Music but I feel, the more work I put out, the more likely something like that will crystallise and focus. You have to start small but that is where I came from: I am not ‘big’ yet but feel I am growing and becoming more confident with every month that passes. I may not get the same rush a musician gets when they are on the stage: conversely; I do not get the same stress when it comes to finding money and sustainability. Journalism is a vital part of music. Without it, musicians could not exist and get their music shared; they would struggle to promote themselves. Making that connection – and building those relationships – is a wonderful thing and can lead to some wonderful opportunities. It has enriched my life and I am sure, anyone who wants to go down the same path, come my way and I can advise. Making a small step is important and, the sooner you do that, the sooner…

PHOTO CREDIT: Unsplash

A wonderful career will begin.

FEATURE: The Hyundai Mercury Prize 2017: The Shortlist

FEATURE:

 

The Hyundai Mercury Prize 2017: 

IN THIS PHOTO: Kate Tempest 

 The Shortlist

________

THIS morning, the shortlist for this year’s Mercury Prize was…

IN THIS PHOTO: The Big Moon

announced on BBC Radio 6 Music – I will drop the ‘Hyundai’ part as the idea of sponsoring music awards makes me want to barf blood. It is an incredible list and one that, as one would expect, is eclectic and unexpected. I include all the albums that have been shortlisted; the odds they have been given and will end with my favourite from the rundown – the one I feel will scoop the prize on the night.

IN THIS PHOTO: Stormzy

The twelve 2017 Hyundai Mercury Prize judges are: Phil Alexander - Editor-in-Chief, Mojo and Q; Clara Amfo - Broadcaster; Jamie Cullum - Musician and Broadcaster; Ella Eyre - Musician and Songwriter; Harriet Gibsone - Music News Editor, The Guardian/TheGuardian.com; Lianne La Havas - Musician and Songwriter; Will Hodgkinson - Chief Rock & Pop Critic The Times; MistaJam - DJ & Broadcaster; Marcus Mumford - Musician and Songwriter; Jeff Smith - Head of Music, 6 Music and Radio 2; Jessie Ware - Musician and Songwriter; and Mike Walsh - Head of Music, Radio X. The Chair of the judging panel is the music executive, Tony Wadsworth CBE.

The Awards Show will be held at the Eventim Apollo, Hammersmith on Thursday, 14th September, 2017.

_________

alt-J – RELAXER

What the Critics Said:

The Daily Telegraph:

"The inscrutability of lyricists is nothing new in rock culture, though it can be especially frustrating when songs offer tantalising glimpses of meaning obscured by references so abstract they could only resonate with the author. It is this aspect of wilful obscurity that still makes Alt J an intriguing band rather than an essential one. Relaxer dazzles and delights the ears yet still feels like the work of a band who might have something to say, if they weren’t too precious to actually come out and say it".

Current Odds (Ladbrokes): 8/1

Blossoms – Blossoms

What the Critics Said:

CLASH:

"Blossoms have a sound that brings garage rock and pop together, and their debut is worth filing alongside Temples, The 1975 and Catfish and the Bottlemen.

Not every track on the record would make as strong a single as ‘Charlemagne’ but with an album that flows so well, its nice to have moments that break up the lively nature of the album. Blossoms have produced an album of perfectly structured songs accompanied by strong lyrics that tell many tales to the large cult they seem to have already acquired".

Current Odds: 16/1

Dinosaur – Together, As One

What the Critics Said:

Evening Standard:

"This debut band album features her longstanding quartet, a supergroup of sorts featuring keyboardist Elliot Galvin, bassist Conor Chaplin and Corrie Dick, a revelation on driving, West African-flavoured kit drums.

Ideas and moods jostle through eight originals including the ambient Awakening, the multiple keyboarddriven Steadily Sinking and Extinct, a simmering nine-minute excursion that finds Jurd revelling in her knack for improvisation, deft use of space and elegant, melodic lines".

Current Odds: 22/1

Ed Sheeran - % (Divide)

What the Critics Said:

NME:

"There’s nothing here with the incongruous sex appeal of ‘Sing’, everyman Ed’s saucy 2014 collaboration with Pharrell Williams, and the rap verses on ‘Eraser’ indicate Suffolk’s finest has less than wicked flow. But his latest album is as likeable as he seems in interviews: assured but unassuming and sometimes hard to fathom. There’s probably a mathematical formula to Ed Sheeran’s success, but he’s the only one who can crunch the numbers".

Current Odds: 14/1

Glass Animals – How to Be a Human Being

What the Critics Said:

The 405:

"The painstaking planning of this album reminds me of the work process of Guillermo Del Toro, who illustrates storyboards, characters, and scenes before any pre-production. Through this consideration, he creates worlds within cinema much in a way Zaba became a musical universe. There's a reason there is no sequel to Pan's Labyrinth much in the way How to Be a Human Being is not an extension of its predecessor more so an original entity altogether. Although elements remain, the core of humanity and character drive this collection to an equally intriguing effect and leaves a far more immediate impression".

Current Odds: 12/1

J Hus – Common Sense

What the Critics Said:

The Guardian:

"While Common Sense finds the Stratford singer/rapper going indulgently long at 17 tracks, the quality is undoubtedly consistent – be it the richly produced Bouf Daddy, the dancehall-inflected, hazy Fisherman or the sun-drenched Good Time, featuring Burna Boy. J Hus imbues an admirable introspection to his bangers, as likely to bring in his Ghanaian heritage or consider his past illicit behaviours as he is to spit wry bars on smoking and partying. This is 2017’s zeitgeist Notting Hill carnival soundtrack".

Current Odds: 9/1

Kate Tempest – Let Them Eat Chaos

What the Critics Said:

The Guardian:

"Her musical restlessness underpins that message, constantly changing tempo and tone, with the feeling that one could be plunged from a lullaby to a piece of savagely fast-paced satire; a clever reference to Bob Dylan’s A Hard Rain’s a-Gonna Fall, a brilliantly downbeat sampling of Sister Sledge’s Thinking of You. But perhaps Tempest’s greatest achievement is not to fall prey to the pressure for unnecessary revolution; her work sits more comfortably in the tradition of perfecting the groove, not changing it. That perfection might be illusion, but its pursuit can produce wonderful work, as it has right here.".

Current Odds: 6/1

Loyle Carner – Yesterday’s Gone

What the Critics Said:

DIY:

"‘Yesterday’s Gone’ might be a humble record, but Loyle Carner doesn’t hold back on quick-smart wit either. “They ask why every fucking song the fucking same,” Loyle quips in ‘Ain’t Nothing Changed’ before turning his focus towards a cutting analysis of stagnation and loneliness. In truth, Loyle’s endlessly inventive…The universe of ‘Yesterday’s Gone’ might be a small one, but Loyle Carner’s scope is far from a tight-knit bunch of arbitrary themes. Letting endless threads unravel, in vivid detail, this album might creep up on you at first, but make no mistake, its creativity and poetry will floor you".

Current Odds: 8/1

Stormzy – Gang Signs & Prayer

What the Critics Said:

The Independent:

"‘Overall, Gang Signs & Prayer is a daring debut. Stormzy could have played it safe with this album, but rather challenged himself with gospel. A key factor about this album is the complexities to Stormzy’s character—displaying a multi-dimensional black British man who goes against a simplified image that’s usually portrayed. Balance makes this album beautiful, as Stormzy worships on "Blinded by Your Grace Pt 1 & 2," falls in love on "Velvet" and raps his socks off on "Cold." Gang Signs & Prayer is a multi-faceted masterpiece and a testament to Stormzy’s talent that warrants his phenomenal rise to the top".

Current Odds: 7/2 (Favourite)

The Big Moon - Love in the 4th Dimension

 What the Critics Said:

The Guardian:

"As if recorded on a grotty Camden bar crawl, the quartet’s debut crashes and careens, as romantic as it is ramshackle, with Pixies-style quiet/loud contrasts a staple structure of their songs. Hopeless love story Cupid is a cross between early Libertines and Freakin’ Out-era Graham Coxon, its lyrics berating the sugary-drink-fuelled braggadocio of a misguided lothario (“He said, ‘I’m gonna make the Earth shake tonight’ / Pineapple juice, tropical Rubicon courage!”). There’s a rudimental rock’n’roll quality to its composition, and the soporific vocal style of Juliette Jackson – which recalls Sleeper’s Louise Wener at times – weaves a wry, stoic narrative throughout the chaos. Nostalgia for noughties and Britpop guitar hits echoes throughout – but played by a gang of twentysomethings, its wide-eyed conviction amplifies the emotional carnage".

Current Odds: 18/1 

The xx – I See You

What the Critics Said:

NME:

"A blast of synthetic horns gives way to a Burial-esque beat and Oli Sim and Romy harmonising on a shuffling chorus straight from a ’90s garage rave, “You are dangerous but I don’t care/I’m going to pretend that I’m not scared.” The vibrancy continues. ‘Say Something’ is lush and glowing. ‘A Violet Noise’ is Oli singing over a Euro-house backbone and the Hall & Oates sampling lead single ‘Hold On’, come summer, will sound huge in the festival fields…They find a balance with the old xx though. Fragility and self-doubt are still themes. Indeed, the highlight is Romy’s pensive, vulnerable ballad ‘Performance’. “I’ll put on a performance/I’ll put on a brave face,” she confesses, accompanied by a single, guitar and scurrying violins. ‘I See You’ is not simply an album then, but a moment of realisation. The moment where The xx stop glancing shyly at their reflection and confront themselves in the mirror. What they discover is infectious".

Current Odds: 7/1 

MY PERSONAL CHOICE:

Sampha – Process

What the Critics Said:

The Guardian:

"There is no such thing as a shoo-in for the Mercury prize, an award whose breadth of reference is admirably erratic. But you can’t help but feel that the debut album by Sampha Sisay, Process, might be the record to beat this year. Distinctly British, sonically restless and emotionally action-packed, Process starts with a bleep and a squawk, and ends with Sampha beating himself up for not visiting his brother. “It’s not all about me,” he mutters mournfully on What Shouldn’t I Be?. He beats himself up fairly regularly. On Timmy’s Prayer it’s a lost love. “I’m on the floor trying to dress my wounds/ Address the fact it was mine to lose…”…Elsewhere, Sampha mourns his mother, who died in 2015 after enduring cancer.(No One Knows Me) Like the Piano is the album’s big ballad, depicting the introverted, youngest child of five who became himself through the instrument. If Sampha’s process sounds like one big downer, it isn’t. Every listen throws up some new, previously unnoticed innovation.".

Current Odds: 4/1 

 IN THIS PHOTO: Laura Marling

I am glad the list includes my favourites – Loyle Carner, Kate Tempest and Sampha – but there are, as many have alluded to, some notable omissions. I was certain, not only would Laura Marling be on the list – there was a good chance she would win it. I am shocked Semper Femina is not there as it is a wonderful Folk record that has no real comparisons on the Mercury list – albums that have a similar flavour. It is a gap that needed to be represented and, in sheer terms of quality, Marling’s latest record was worthy of a spot. Jane Weaver, similarly, is someone everyone felt would make the cut – one of our finest songwriters and most solid talents. IDLES, perhaps, one of the very few genuine and promising new bands of the moment did not see their L.P., Brutalism, represented – many feel this is an attempt to ignore the underground and new acts. I am glad there are bands in the nominations – alt-J and Blossoms – but, in my mind, neither produced an album that gained widespread acclaim – neither solid or memorable enough to warrant a prestigious. My feelings towards Ed Sheeran’s music are well known – the fact his album, %/Divide, made the list has shocked many. It seems the voting panel was trying to reflect a more mainstream and Pop-inclusive tone this year. Dinosaur and The Big Moon are this year’s typical outsider/quirky choices: I feel the latter has a good chance of winning the thing; maybe the former, for that matter...

IN THIS PHOTO: IDLES

In a year when political and social anger has fuelled Mercury nominations – Kate Tempest, Stormzy and Loyle Carner – one would feel there’d be space for the critical hit of English Tapas - from the ever-reliable Sleaford Mods. Their album resonated and connected with critics but perhaps a line needed to be drawn. Marika Hackman is another name that could have made the grade – sad she was not mentioned. I suppose we have some genuine stars and achievers on the list; albums that have helped define British music. I want Sampha to win but feel Kate Tempest and Loyle Carner are both worthy winners. Encouraging to see previous include-es like Tempest and alt-J on the rundown; the newcomers like Loyle Carner and Stormzy being given a boost. Maybe the ignored will draw bigger reactions than those who have actually made the shortlist. If an outside-bet like Ed Sheeran or Blossoms wins the awards: maybe a bookies’ favourite like Sampha will come through – you can never tell with the Mercury Prize. It is going to be fascinating to see who walks away with the gong on 14th September. One thing we do know is that, with the Mercury Prize, one can never guess…

WHAT will happen on the night.

FEATURE: 1987

FEATURE:

IN THIS PHOTO: Pixies (1987) 

1987

________

ONE might ask why the year 1987 should…

IN THIS PHOTO: Aretha Franklin

happen into my consciousness. Well...for one thing; it is thirty years in the past so, in a rather arbitrary way, deserves a commendation – on account of the fact it has reached its thirtieth anniversary. More than that, I want to celebrate the best albums of a decade that, to many, was rather insignificant and cheesy...

In this year, Aretha Franklin became the first women to be inducted into the Rock and Roll Hall of Fame; Bon Jovi’s Livin’ on a Prayer storms the world and Beastie Boys get themselves censored! Throw in the fact The Beatles’ first five albums were released onto C.D.; Fugazi played their first live show and Cher returned to music (following a five-year gap) and it was pretty damned eventful!

More than that; there were some sensational albums that have inspired and endured this far down the lines. I will be featuring the Mercury Prize-nominated acts/albums tomorrow and, one feels, were the Prize around in 1987 – the panel would have a bloody hard choice choosing a shortlist from this rundown (if they included international albums - before you get all smart-arse!)...

________

Michael Jackson – Bad

Release date: 31st August

Genres: Pop; Rock; Funk; Dance

Standout track: Leave Me Alone

Prince – Sign o’ the Times

Release date: 30th March

Genres: R&B; Rock; Funk; Psychedelia; Soul

Standout track: If I Was Your Girlfriend

The Smiths – Strangeways, Here We Come

Release date: 28th September

Genres: Alternative-Rock; Indie-Pop

Standout track: Last Night I Dreamt That Somebody Loved Me

Whitney – Whitney

Release date: 2nd June

Genres: Pop; Dance; R&B

Standout track: So Emotional

U2 – The Joshua Tree

Release date: 9th March

Genre: Rock

Standout track: Where the Streets Have No Name

Guns N’ Roses – Appetite for Destruction

Release date: 21st July

Genres: Hard-Rock; Heavy-Metal

Standout track: Sweet Child o’ Mine

George Michael – Faith

Release date: 30th October

Genres: Pop; Funk; R&B; Soul

Standout track: Faith

Dinosaur Jr. – You’re Living All Over Me

Release date: 14th December  

Genres: Alternative-Rock; Noise-Rock

Standout track: Kracked

Midnight Oil – Diesel and Dust

Release date: August  

Genre: Alternative-Rock

Standout track: Beds Are Burning

Public Enemy – Yo! Bum Rush the Show

Release date: 10th February

Genres: East Coast Hip-Hop; Hip-Hop

Standout track: Public Enemy No. 1

R.E.M. – Document

Release date: 1st September  

Genre: Alternative-Rock

Standout track: The One I Love

10,000 Maniacs – In My Tribe

Release date: 27th July  

Genres: Alternative-Rock; Folk-Rock

Standout track: What’s the Matter Here?

Pixies – Come On Pilgrim

Release date: 28th September   

Genre: Alternative-Rock

Standout track: Caribou

The Housemartins – The People Who Grinned Themselves to Death

Release date: September   

Genre: Indie-Rock

Standout track: Five Get Over Excited

The Wedding Present – George Best

Release date: 12th October

Genre: Jangle-Pop

Standout track: A Million Miles

Beastie Boys – Licensed to Ill

Release date: 15th November

Genres: Rap-Rock; Hip-Hop

Standout track: (You Gotta) Fight for Your Right (to Party!)

Sonic Youth – Sister

Release date: June

Genres: Noise-Pop; Art-Rock

Standout track: Stereo Sanctity

FEATURE: Critic-Proof: The Near-Perfect Albums Hard to Fault

FEATURE:

 

Critic-Proof:

IMAGE CREDIT: Rosabelieve (Deviant Art)/IN THIS IMAGE: Kate Bush (Hounds of Love, 1985)

The Near-Perfect Albums Hard to Fault

________

BECAUSE Arcade Fire are about to unleash to the world…

IN THIS PHOTO: Eminem (The Marshall Mathers LP, 2000)

their already-critically-acclaimed album, Everything Now, it appears that record will get unanimous praise. I find it hard believing many will give it anything less than a five-star review. That is rare in an age when there are so many media sites – could an album ever get THAT much praise?! That sort of universal acclaim, I thought, was normally reserved for albums long ago. It is not that our tastes have changed or music has got worse – the classic, titanic albums rock-up very rarely.

That said, there are a few that, if one looked at Metacritic, would be in the high-nineties. I select a host of albums – from the 1950s to now – that have gained those lofty scores and got the thumbs-up from all (or most, at least) critics.

I take a selection through the decades and, in addition to providing the album itself, select the finest track from it – a chance to discover why that record received such a fantastic reception.

__________

1950s:

Elvis Presley – Elvis Presley (March 23rd, 1956)

 STANDOUT TRACK: Blue Suede Shoes

Miles Davis – Kind of Blue (17th August, 1959)

STANDOUT TRACK: Blue in Green

1960s:

Bob Dylan – Highway 61 Revisited (30th August, 1965)

STANDOUT TRACK: Like a Rolling Stone

The Beatles – Revolver (5th August 1966)

STANDOUT TRACK: Here, There and Everywhere

The Rolling Stones - Beggars Banquet (6th December, 1968)

STANDOUT TRACK: Sympathy for the Devil

1970s:

Carole King – Tapestry (10th February, 1971)

STANDOUT TRACK: It's Too Late

Joni Mitchell – Blue (22nd June, 1971)

STANDOUT TRACK: Carey

Stevie Wonder – Innervisions (3rd August, 1973)

STANDOUT TRACK: Higher Ground

Led Zeppelin – Physical Graffiti (24th February, 1975)

STANDOUT TRACK: Kashmir

Fleetwood Mac - Rumours (4th February, 1977)

STANDOUT TRACK: Go Your Own Way

Blondie – Parallel Lines (23rd September, 1978)

STANDOUT TRACK: One Way or Another

Michael Jackson – Off the Wall (10th August, 1979)

STANDOUT TRACK: Don't Stop 'Til You Get Enough   

1980s

Talking Heads – Remain in Light (8th October, 1980)

STANDOUT TRACK: Once in a Lifetime

Kate Bush – Hounds of Love (16th September, 1985)

STANDOUT TRACK: Running Up That Hill (A Deal with God) 

The Smiths – The Queen Is Dead (16th June, 1986)

 STANDOUT TRACK: Cemetry Gates

Paul Simon – Graceland (25th August, 1986)

 STANDOUT TRACK: Under African Skies

Public Enemy – It Takes a Nation of Millions to Hold Us Back (28th June, 1988)

STANDOUT TRACK: She Watch Channel Zero?!

Soul II Soul – Club Classics Vol. One (10th April, 1989)

STANDOUT TRACK: Back to Life (However Do You Want Me) (ft. Caron Wheeler)

Beastie Boys – Paul's Boutique (25th July, 1989)

STANDOUT TRACK: Shake Your Rump

1990s:

Nirvana – Nevermind (24th September, 1991)

STANDOUT TRACK: Breed

Tricky – Maxinquaye (20th February, 1995)

STANDOUT TRACK: Black Steel

Oasis – (What’s the Story) Morning Glory? (2nd October, 1995)

 STANDOUT TRACK: Wonderwall

DJ Shadow – Endtroducing….. (19th November, 1996)

STANDOUT TRACK: Building Steam with a Grain of Sand

Björk – Homogenic  (22nd September, 1997)

STANDOUT TRACK: Hunter

2000s:

Eminem – The Marshall Mathers LP (23rd May, 2000)

STANDOUT TRACK: Stan

The Strokes – Is This It (30th July, 2001)

STANDOUT TRACK: Last Nite

The White Stripes – Elephant (19th March, 2003)

STANDOUT TRACK: Seven Nation Army

Dizzee Rascal – Boy in da Corner (21st July, 2003)

STANDOUT TRACK: Fix Up, Look Sharp

2010s:

Kanye West – My Beautiful Dark Twisted Fantasy (22nd November, 2010)

STANDOUT TRACK: Dark Fantasy

Kendrick Lamar – To Pimp a Butterfly (15th March, 2015)

STANDOUT TRACK: King Kunta

Nick Cave and the Bad Seed – Skeleton Tree (9th September, 2016)

STANDOUT TRACK: Jesus Alone

Lorde – Melodrama (16th June, 2017)

STANDOUT TRACK: Green Light

FEATURE: Modern Songwriting: All You Need Is Love?

FEATURE: 

PHOTO CREDIT: Unsplash

Modern Songwriting: All You Need Is Love?

________

THAT seems like a question with a rather simple answer but…

IN THIS PHOTO: The Beatles (1967)/PHOTO CREDIT: David Magnus

in terms of music: is the subject of love being run dry?! The reason I raise the point is because, it seems, songwriting is becoming very limited and homogenised - certainty in the mainstream. I know there are plenty of artists who take the focus elsewhere but I feel too many rely on relationships and their own concerns to get people listening. I understand that adage of writing about what you know: if you are too out-there or step into uncharted territory – as a new artist, it can be hazardous and foolhardy. It is depressing seeing so many established artist fail to push beyond the obvious and really engage with the outside world. I am listening to albums at the moment – Dizzee Rascal’s Raskit and Arcade Fire’s Everything Now – that tackles the world at large and issues around society, materialism and the media. There are songs about politics, social media and rivalry – very little concerning relationships and gripes. I guess, genres like Grime and Rap, are more synonymous with social commentary. There is braggadocio and a sense of confidence: songs tend to look outward and are less concerned with traditional themes. Even when the best of the mainstream speak about love; it is done with a lot more wit and originality than most. I am a bit bored seeing the same songs about guilty partners and the sorrow of heartbreak. It sounds heartless but it is one of those subjects that has been exhausted and covered for decades. Go back to the early-1960s and bands like The Beatles presented love in rather charming and innocent terms. Later albums looked at relationships with a mix of the caustic and impassioned. Even when the world’s finest band were at their height; they were never compromising and, when singing of love, brought new dimensions and possibilities to it. Now, these many years down the line, it seems talking of love has reached a sort of plateau. I feel, if you are going to assess a breakup or romance, to be cautious and present it with some sort of variation and new angle. It is all well writing about something that personal but avoiding cliché lyrics and tropes is essential.

PHOTO CREDIT: Unsplash

I guess it is the making of the mainstream and Pop that leads me to this anger. I am willing to embrace these artists but their palette and imagination is so moulded and aimed at the teen market – there is little manoeuvrability for anything apart from love and relations. I feel, if one is going to write about love, at least set your sights a bit wider. Some of the greatest songs have been about love but, in truth, how easy it is mining gold from an area that, over the decades, has been well represented?! I get a little weary when I get sent songs that talk of broken hearts and the imbalance in relationships. The best artists, many I have recently reviewed, take relations and give them new dynamics. From Sasha Brown’s Parallel to Polar Eyes (reviewed today) – it is possible to stick with tradition but sprinkle something unique and interesting in. I find, especially now, some of the best albums hardly touch upon love. Perhaps my inexperience in the area - relationships and writing about them – has created subjectiveness but, if an artist relies too heavily on ‘easy answers’, it creates something stodgy and formulaic. Yes, created a couple of tracks about a relationship – whether good or bad – but move on. The emotion of love is a powerful thing and – to answer the question I set in the header – we should be using it to add colour and passion to problems in the world. I come across artists who are thankful for life and every moment; the good that is out there and how the positive outweighs the negative. Even if one does not have that mindset – and is a glass-half-full type – there are avenues they can explore. If you are coming straight into music, there is that difficulty understanding what the market wants and the type of song that will capture the heart. It is too tempting going to the relationship well and writing about that. Even if you are not going through a split; I am seeing lots of artists still writing about that topic – coming from a fictional viewpoint. It seems the mass market and mainstream is misleading a lot of artists.

PHOTO CREDIT: Unsplash

I feel getting away from that pre-teen demographic is something that needs to be done in order for music to evolve and grow. All the times you get a guitar-wielding act singing about their girl/boy and the pain of being dumped – it can get very angering and plodding. Even when one hears a positive and happy love song: it is still very personal and not that likely to engage and hold many past the initial listener. I agree, if one gets the recipe right, it can lead to something incredible and transformative. For every artist that gets close to something spellbinding: there are dozens that write something asinine, bland and empty. Love, as I said, is a powerful weapon that should not be messed with. I guess everyone has to face the painful sting of a break-up but that does not mean it needs to go down in music. Most people are just as able to relate to any other subject other than love – the assumption being relationships are the most common currency and, therefore, the most profitable. Give the events that have transpired and unfolded the last few months: why not write about them and apply something uplifting and positive to that?! The fact the British people have shown resolve and strong souls – after terrorist attacks and political divisions – is an area that is ripe for representation. Hearing an album like Dizzee Rascal’s Raskit and it appears the Grime king is still not bothered about petty relationships and moaning. His flows are as ice-cool and gifted as back on his debut. He is one of the most assured and talented rappers around. Always intelligent, sharp and on-point. Other genres have different sounds but my point is someone like Dizzee has a broad set of inspirations: the people around him and technology taking over; the competition dissing him and Britain’s changing face. There are moments of humour and savagery: wicked put-downs and moments of genuine introspection. As such, one gets an original and deep album. I mentioned Arcade Fire and their forthcoming, Everything Now. That has a social, political and wide-ranging mentality that, unsurprisingly, is seeing critics drool and hyperventilate with delight.

PHOTO CREDIT: Unsplash

The only way music is going to remain compelling and evolving is it is kept broad and surprising. We need that core of love/relationships but it seems too many mainstream and new artists fall back on it – and rely on it as their staple. The world is a complex, ever-changing and inspiring that provides endless lexicon and seduction for songwriters. Few are getting out their torches and searching beyond their own bedroom. I hardly think it is coincidence the best albums being created right now are talking about what is going on in the world and issues that are much deeper than individual relationship – or, at the very least, showing a more broad-minded and interesting approach to songwriting. Many of those legendary and historic albums – Fleetwood Mac’s Rumours among them – talked of love and its intricacies and complexities. People get it into their head they can create something as profound or the people want to hear that all the time. The world has changed and music is a way of taking people to new places – introducing them to new themes and possibilities. If a songwriter cannot get past the bedroom door and seeks sympathy; stressing and casting blame to their former lovers – it can be quite unnerving and uncomfortable for the listener. The love song is a good way to connect with listeners and display empathy – find common-ground and speak to them. For those, like myself, who have not gone through a break-up; that kind of music can get cloying and overly-familiar. Maybe I cannot understand the pains and fall-out from a split but, to be honest, I don’t really need to. I approach music as a way of learning about an artist and what makes them tick. If that is failed romance or the joys of love then good for them. I want to discover more and have my imagination and mind nourished. The best and most memorable songs are those that take my surprise and take my thoughts in new and wonderful directions. For every God Only Knows there are thousand of wannabe songwriters who are creating songs a-hundredth as affecting and special. I am not down on love but know it is a potent and universal sensation that has a lot more malleability and profitability than most artists give it credit for. Get out of that mainstream quicksand and do not be afraid to take risks with songwriting. Later, I am writing a piece that looks at those critic-proof albums: those near-perfect that are immune to detraction. Most on the list earn this honour because they are original and timeless. If you are too concerned with your own thoughts and relations: how likely will the music succeed and delight years from now?! Love is something destructive and wonderful; it is capable of lifting souls and changing lives. It can be enigmatic and simple; it can take various guises and come when you least expect it. As much as anything, it is a nimble beast that has the eagerness and fuel to tread new ground and venture into wonderful music side-streets. The finest artists understand this but there is a growing mass that seems unwilling to bend against ‘convention’. Love is a very powerful and wonderful thing so, when it comes to songwriting, why don’t we…

PHOTO CREDIT: Unsplas

MAKE the most of every drop?!

FEATURE: The Album Round-Up

FEATURE:

IN THIS PHOTO: Dizzee Rascal/PHOTO CREDIT: Steven M. Wiggins/Inside Slash Out PR 

The Album Round-Up

________

IN an unlikely-to-be-weekly-series; I bring the best albums of the week…

IN THIS PHOTO: Lana Del Rey/PHOTO CREDIT: Kurt Iswarienko (for The New York Times)

into one handy, bite-sized feature. There are some big ones out this week. I bring together Declan McKenna’s What Do You Think About the Car? and Lana Del Rey’s Lust for Life. Included is Paul Heaton and Jacqui Abbot’s Crooked Calypso and Foster the People’s Sacred Hearts Club. A little bit of Dizzee Rascal’s Raskit thrown into the mix.

A sturdy and impressive collection of albums that should, if you delve into each, cater to broad and varied tastes…

__________

Declan McKenna – What Do You Think About the Car?

Label: Columbia Records

Genre: Alternative; Indie

What Are the Critics are Saying?

The Guardian:

“They are protest songs, but sound anything but worthy or world-weary. Instead, they are sun-soaked aural fizz bombs which channel indie rock through his love of David Bowie and Abba. His effervescent anthems are packed with detail, from electro squiggles to children’s voices, and he saves one of his best choruses for The Kids Don’t Wanna Come Home, in which he packs the anger, fear, alienation and glimmering flames of hope of Generation Z into a euphoric, uplifting pop construction”.

NME:

“On debut album ‘What Do You Think About The Car?’, there’s swagger to McKenna’s delivery but no cockiness. Instead, he narrates his innermost feelings on everything from politics (‘Isombard’) to the media’s treatment of transgender suicide (‘Paracetamol’) with subtlety and skill. Standout ‘Make Me Your Queen’ is a rare moment of intimacy as he laments the ache of unrequited love, again with a delicacy and wisdom beyond his years”.

DOWNLOAD: Humungous; The Kids Don’t Want to Come Home; Make Me Your Queen; Paracetamol

STANDOUT TRACK: Brazil

Lana Del Rey – Lust for Life

Label: Interscope Records

Recorded: 2015-'17

Producers: Lana Del Rey; Ricky Nowels; Benny Blanco; Boi-1da; Emile Haynie

Genres: Alternative/Indie; Rock; Pop

What Are the Critics are Saying?

Variety:

“All this positivity is balanced with a healthy, or unhealthy, dose of depressive Del Rey — the old Lana who’s chronically prone to sleeping with ne’er-do-wells and maybe dreaming of sleeping with the fishes, too. The lure of bad boys keeps Del Rey in her tranquilized state in the entrancingly dysfunctional stretch of the album that runs from “Cherry” and “White Mustang” through “In My Feelings”.

The Guardian:

“While many of the song titles and clumsy references may have a discerning music fan scoffing at Del Rey’s predictability, there remains an admirably unflinching quality to this record (even if it is five tracks too long). She has evolved elements of her once disturbing narrative, and her ardent fanbase will detect clear leaps made since her debut. But, in the current climate of laborious genre-hopping and guest vocals on throwaway chart tracks, Del Rey has remained a mystery. She is consistent in her aesthetic, adding zeitgeisty elements to her sound without being dictated by them”.

The New York Times:

“And she closes the album with “Get Free,” which hints at both old girl-group songs and Radiohead’s “Creep” as she resolves to dump someone: “I was not discerning/and you as we found out were not in your right mind.” The usual melancholy is there, but so is a wink”.

The Independent:

“Like The Weeknd’s personal dark brand of R&B; Del Rey’s deliciously twisted pop fuses hip hop beats with her breathy vocal delivery; their mutual power is in their ability to keep things hidden, whilst seeming utterly explicit. It’s a heady mix to be caught up in”.

DOWNLOAD: Love; 13 Beaches; Coachella - Woodstock in My Mind; Beautiful People Beautiful Problems (ft. Stevie Nicks); Get Free

STANDOUT TRACK: Lust for Life (ft. The Weeknd)

Paul Heaton and Jacqui Abbott - Crooked Calypso

What Are the Critics are Saying?

The Guardian:

“It’s not all social justice worrying, however. On I Gotta Praise and Love Makes You Happy, the pair prove they can still effortlessly knock out the archly brash and heart-wrenchingly simple love songs that characterised their Beautiful South output. Clearly, the well of witty, interesting pop that Heaton has been drawing from throughout his career has not yet run dry”.

Hot Press:

“Stitching kitchen-sink dramas, observational comedy and pub philosopher ruminations together with feelgood music makes for an irresistible listen. Opening strongly with the gospel-steeped ‘I Gotta Praise’ and the witty, disco-flavoured ‘He Wants To’, Crooked Calypso features some of Abbott’s finest vocals (‘He Can’t Marry Her’), and Heaton’s sharpest lines (‘People Like Us’, ‘The Lord Is A White Con’). ‘Blackwater Banks’, though, is sure to be the LP’s most talked-about moment. Calling to mind Billy Joel’s ‘She’s Always A Woman To Me’, it’s a touching love letter to Ireland and destined to become a radio staple”.

DOWNLOAD: She Got the Garden; People Like Us; He Can’t Marry Her; The Future Mrs. Heaton

STANDOUT TRACK: I Gotta Praise

Foster the People - Sacred Hearts Club

Genres: Alternative; Indie

Label: Columbia Records

What Are the Critics are Saying?

A.V. Club:

“Overall, Sacred Hearts Club also signals a return to Foster The People’s more electronic origins, but not in the inventive way that was used on Torches. Rather, it comes off as hackneyed copy, full of the predictable EDM/trap beats that every other chart-topper has shoved in somewhere. It’s a deeply disappointing effort that, if there’s any consolation, could be mistaken for just about anyone”.

Evening Standard:

“Lotus Eater is three minutes of Strokesy perfection — insouciant yet incendiary. On Static Space Lover, they marry Beach Boys-style harmonies to a chunky bassline. There’s also a hint of hip-hop swagger on this record, as well as a curious club banger that references Sylvia Plath’s suicide. But these risk-taking departures are outnumbered by solidly catchy tunes that never match that breakthrough hit”.

AllMusic:

“As if to announce the new direction, they kick things off with the steamy, new wave-cum-hip-hop jam "Pay the Man," which finds Foster diving headlong into a hip-sway-inducing rap. Similarly, cuts like the stadium-sized anthem "Doing It for the Money" and the sparklingly buoyant "Sit Next to Me," with their icicle guitar hits and bubbly keyboards, bring to mind an inspired mix of '80s Tom Tom Club and Prince, with just enough modern EDM flourishes to keep things from getting too nostalgic. Along those lines, we get the spacy electro-Motown of "Static Space Lover," the buzzy, blacklight-drenched house music anthem "Loyal Like Sid & Nancy," and the sexy, crystalline, digital hip-hop and R&B flow of "Harden the Paint." Ultimately, the beauty of Sacred Hearts Club is that it sounds like a Foster the People album without unnecessarily rehashing the sound that made them famous”.

DOWNLOAD: I Love My Friends; Static Space Lover; Loyal Like Sid & Nancy

STANDOUT TRACK: Lotus Eater

Dizzee Rascal – Raskit

Label: Island Records

Genres: Hip-Hop; Grime; Hip-House

What Are the Critics are Saying?

The Guardian:

“For all his assertions that things have changed since the days when he was “running round the manor like a hooligan”, a hint of his famed recklessness remains. Virtually everyone who isn’t Dizzee Rascal gets it in the neck, from the Tories on Everything Must Go, to old mentor turned adversary Wiley – who seems to have incurred Rascal’s wrath by trying to patch things up between them – to grime’s current crop of stars: “Too big for my boots, that’s the truth, no excuse for you new recruits, bunch of dilutes and a few flukes.” This seems a pretty risky move, but then, from its sparse sound to its defiantly un-nostalgic view of the past, Raskit is a risky album. Luckily for the man who made it, he has the skills to make the risk pay off handsomely”.

GQ:

“There’s arrogance and defiance on Raskit too. Once a grime MC, always a grime MC at heart, and there's no grime without boastful swagger. In "The Other Side", Dizzee ridicules grime’s bright young things "gassing up the dead rhymes", “fashion MCs [who] think they’re too cute”, enemies (Wiley) who won’t give his name a rest, and – a recurring theme – all the haters “acting like I never made bare grime”. (Fools!) No doubt the same critics who yearn for another Boy In Da Corner – squirming with consistent dirty beats, old-school instrumentals and every bar at 140bpm – will be disappointed by Raskit. But it’s time they stopped picking at the same scab and allowed artists to evolve and diverge from their original sound. Besides, at the core, it’s still the same old Dizzee: angry, cheeky, lonely and confident. A spokesman and an inspiration. The same old rascal”.

Pitchfork:

“Of course, if Dizzee wanted to show his affinity with American hip-hop in 2017, then releasing an album so severely need of an edit is a note-perfect move. But grime at its best is defined by its steely economy, which makes Raskit’s rambling length and diluted focus frustrating. As a platform for Dizzee's flashy lyrical dexterity, Raskitdoes more than enough to shift the bitter aftertaste of The Fifth. With more of the laser-eyed focus that marked Boy in Da Corner, it could have been a triumph”.

Clash:

“Bloated at 16 tracks, it could have been a genuinely strong EP that formed a platform for Dizzee’s return to the sound he helped birth. Alas, whether fairly or not, he appears to disagree with the notion that he should have to take time in reintroducing himself. He’s done his graft, and wants the new plaudits. But if Skepta’s recent success is anything to go by (let’s not forget that he did his fair share of work in the early days before he went pop too), it’s that you need to do more than a live stream ‘reveal’ and some branded fried chicken boxes to convince people that your heart’s back in it”.

DOWNLOAD: Wot U Gonna Do?; Space; Business Man; Dummy (16 for the Juice); Man of the Hour

STANDOUT TRACK: Everything Must Go

FEATURE: The Summer Playlist: In the Sun...and After Dark

FEATURE:

The Summer Playlist: 

IMAGE CREDIT: Unsplash  

In the Sun...and After Dark

________

OVER the next couple of days…

IMAGE CREDIT: Unsplash

I am keen to explore a number of things through features. For one, I want to talk about my future ambitions and new projects; whether love, the staple of modern (and historic) songwriting is as inspiring, original and popular as once was; whether it is possible for musicians to survive on gigs alone – and the reality for artists in the modern climate. I will also talk about mental health in music and whether more needs to be done. Now, and less serious perhaps, a chance to immerse yourself in a sun-drenched selection of songs. These are tracks, some new and old, that, I hope, beckons the summer and get the warm vibes flowing. It has been a rather unpredictable day and I am wondering whether we will see the sort of temperatures encountered only a week ago. If we don’t, and who knows living in Britain, here is a selection of songs that are guaranteed to warm the body – and get it moving at the same time. In fact; these songs are about when the sun goes down and when the heat still lingers – and all the lights go down…

FEATURE: Declan McKenna: From Brazil…to the World

FEATURE:

 

Declan McKenna:

 From Brazil…to the World

________

IT might seem strange to focus so heavily on a new songwriter…

and someone so young – putting their debut album out to the world. I will come and talk about the awesomely-titled, What Do You Think About the Car? later on – as it represents a fantastic achievement from a bright and multi-talented young songwriter. There are a lot of solo musicians who write their own material and play their instruments. It is not as common as one would hope and, on Declan McKenna’s debut outing, he pours his personality all over the music. I have heard few young newcomers with such an individual and take-care-of-everything approach to their music. Maybe my 2016-favourite Billie Marten – on her debut, Writing of Blues and Yellows – had that integrity and talented – a couple of co-writes and some help with instrumentation and performance. McKenna is a teen who reminds me a bit of the young Bob Dylan – albeit, a modern and ‘sassier’ version. He reflects on modern life and issues few songwriters touch upon. I will come to that, as I say, but, right now, a bit about where Declan McKenna came from. Born on Christmas Eve, 1998; the Hertfordshire-raised musician started his G.C.S.E. exams in 2015 – makes me feel bloody ancient (I took mine in 1999)! Studying A-levels in English Literature, Philosophy and Ethics (and Sociology): it seems there is an intrinsic and deliberate connection between his academic pursuits and lyrical viewpoints. One can see how those areas of education have gone into a debut album – one that brims with relevant insight, accusation and intelligence. In fact; McKenna had to put the A-levels on hold once his music career started to take off. McKenna signed with Q Prime shortly after a triumphant appearance at Glastonbury in 2015. McKenna put his signature to a Columbia Records contract – after more than forty record labels battled it out to win the heart of the teen. That first single, Brazil, criticised FIFA – the governing body of football – and how they awarded the World Cup to Brazil in 2014 – overlooking the rampant poverty and violence inherent in the country.

PHOTO CREDIT: Emma Swann

Few artists, of his age and background, feel compelled to engage in political discussion and include in in their music. The fact McKenna hails from a working-class background, in a way, makes him more aware of the struggles of the people of Brazil – not that there is any link between his upbringing and theirs (I guess there is a natural empathy and outrage in the young man). Brazil, in addition to being a captivating song, highlighted a poverty and injustice that needed to be unearthed. Through 2015, with the success continuing to build, McKenna played a range of festivals through Ireland and the U.K. Most of these were quite modest – Big Boston Gig festival in Lincolnshire, for instance – but a chance for the songwriter to hone his skills and get his music to new faces. Self-released second single, Paracetamol, looked at transgender teenagers and how they are misrepresented in the media – the idea being that paracetamol is seen as a cure; the fact these teens might be able to be ‘cured’ of an ‘ill’. It is no surprise the song garnered praise and acclaim from the likes of NME. Many, even at that point, were calling Declan McKenna the ‘voice of his generation’. He refutes this claim (with a humorous and profane utterance) but, given the things he is writing about, he is responding to issues that need addressing. In a music scene swimming in mushy love songs, negativity and commercial ambitions. McKenna, as I glean from interviews he has conducted, is as down-to-earth and charming as they come. He rocks a good pair of dungarees – he explained to the BBC they are versatile and have plenty of handy pockets – and finds it condescending people think he should not be addressing such hefty topics at his age.

The fact the E.U. referendum result irked him some – and he, only eighteen now, was too young to cast his vote – compels anger and the need to expose the worst traits of our people; how we are becoming a divided nation – and one that wants to split from the outside world. The cracks in Britain mean we are becoming fragmented: this is something the young McKenna is acutely aware of – and feels a lot of sorrow and annoyance at. McKenna got his record deal at Glastonbury and, seemingly a contract delivered with mud splattered on and people excitedly urging him to sign, there was no fanfare and build-up. The teen signed it, had a big celebration and set to the task of creating his debut album. Let’s back it up a bit because, between here and then, a few things have happened. By late-August of last year; Declan McKenna unveiled Isombard to the world. Rather than bring out another boring song about love and life: this was a song about police brutality in the U.S. and how right-wing stations like FOX sought to justify it. Last year, following success and new material, McKenna secured gigs at Live at Leeds, The Great Escape Festival and Standon Calling. Debuting in North America on 11th March (2016) at Jannus Live in St. Petersburg, Florida; a set at SXSW and European dates took the British hopeful to the international audiences. That potentially poisoned chalice of BBC Music’s ‘Sound of 2017’ nod could have backfired for Declan McKenna. I have seen names on that list, including the winner of that list, who have not (thus far) reached their potential – not as lofty and successful as BBC predicted. McKenna is thankful of any nominations and features but, one suspects, does not want pressure and expectation on his shoulder. For much of last year, he was piecing together his album and working with James Ford – who has helped craft modern masterpieces by Arctic Monkeys and Florence and the Machine. I will finish with a look at the album itself but, for the remainder of this year, McKenna will play Reading and Leeds; other big festivals (he has played Glastonbury again) and plotting his next moves.

PHOTO CREDIT: Andy Hughes / NME

Speaking with NME, promoting What Do You Think About the Car?, McKenna was quizzed about his busking past (“I genuinely hated it”) and the experience of playing the streets of Harrow  (“But I thought if I did it long enough, loads of people would be listening to my music”). If his trademark live move of releasing balloons into the crowd would not work nowadays – he is playing thousand-seater venues – there are few other things that will change. He now has a platform on which he can write about L.G.B.T.Q. issues and the hyperbole that has been thrown his way. McKenna says, and addresses on Humongous, how those labels (being the voice of his generation) are ludicrous and nausea-inducing. People his age are engaged: he is simply articulating their viewpoints. There is a conception the middle and older-aged are the wisest: as election results have shown; should that be an assumption in need of reassessment?! It seems the young are the ones who want the best for the country and the most open-minded – much more tolerant and unified than other demographics. McKenna does not want to accuse his elders and ‘betters’ – merely talk about things important to him. The young master is looking ahead and urging us to watch this space. There is no telling what future albums might discuss: right now, he is rebranding and overhauling the traditional sound of the protest song. Were the music to have a Dylan-esque skin – slightly morbid hues and Folk strings – it might mean McKenna fades into the background – and dismissed as a moody and unoriginal protest artist. Shrewdly, he pens colour and flavour-laden bombs of fizz, fuzz and energy. He is compelled by David Bowie – a hero and someone he aspires to be – but turns his nose at any who suggests he is at Bowie’s level right now. Similarly, one should not ignore the trajectory of Declan McKenna’s career – showing the same originality and innovation Bowie did in his early days.

PHOTO CREDIT: @owenhardiker

If McKenna’s Hunky Dory and Low might be a few years off; he could, as he claims, maybe hit Earthling levels of quality right now – Bowie’s 1997 album that was not considered his best work. This is modesty from a hungry artist whose love of Bowie and ABBA can be detected in his kids’ choruses, vivacious electronics and huge Pop choruses. Many teenagers, growing up in today’s world, would need a lot of time to process what is happening around them. That is true of McKenna who, between the ages of fifteen and seventeen, was dealing with political divisions and facing rising fame. He spoke to Attitude about labelling his sexuality – how he is experimenting and does not want to define himself in binary terms – and refuting the sensationalism the media is providing him. So bright is the spotlight of expectation on McKenna; he is taking a mature and pragmatic approach to it. Rather than rebel and attack the media and the tags they impose on him: he is letting the music speak and taking care of business. We put too much pressure on young musicians and, when they start picking up fans, elevate them to absurd levels. Turning to the subject at hand – and the debut album from Declan McKenna – critics have been vibing and drooling over his car (an answer to that album question). The Guardian assessed the record, thus:

“…They are protest songs, but sound anything but worthy or world-weary. Instead, they are sun-soaked aural fizz bombs which channel indie rock through his love of David Bowie and Abba. His effervescent anthems are packed with detail, from electro squiggles to children’s voices, and he saves one of his best choruses for The Kids Don’t Wanna Come Home, in which he packs the anger, fear, alienation and glimmering flames of hope of Generation Z into a euphoric, uplifting pop construction…What a cracking debut”.

PHOTO CREDIT: Emma Swann

NME were hardly filled with hate and doubts:

“On debut album ‘What Do You Think About The Car?’, there’s swagger to McKenna’s delivery but no cockiness. Instead, he narrates his innermost feelings on everything from politics (‘Isombard’) to the media’s treatment of transgender suicide (‘Paracetamol’) with subtlety and skill. Standout ‘Make Me Your Queen’ is a rare moment of intimacy as he laments the ache of unrequited love, again with a delicacy and wisdom beyond his years”.

The eleven-track album was primarily penned in McKenna’s bedroom. This is a space he feels most relaxed in (and private). I am excited to see where Declan McKenna heads from here but, on the evidence of his debut album, it seems like a long and prosperous future awaits. The songs we already know about – Brazil, Isombard; Paracetamol, The Kids Don’t Want to Come Home and Humungous – are established and exceptional. Intriguing cuts like Make Me Your Queen and I Am Everyone Else are fascinating glimpses into McKenna’s personality and psyche. The entire album is focused, unique and uncompromising. He does not write for the charts, positions and niches: his debut L.P. is from the mind and soul; a young man exploring and growing into the world. This is his musical exploration and growth. Six of the eleven tracks have already been released as singles – one suspects that will probably be it already. There are big tour dates and the chance to get out to even more people. Many musicians might be daunted by such heady expectations from the media. Declan McKenna has no desire to let ego or false ideals define who he is. He’s a curious and lovable soul who is as interesting and complex off-record than he is throughout What Do You Think About the Car? Make sure you hear the album as it is one of the best of the year (so far) and, I think, signals a rare and near-peerless talent in British music. Not that is concerned with such things but Declan McKenna’s debut album more than means the Hertfordshire-born musician more than…

PHOTO CREDIT: Emma Swann

LIVES up to the hype.

FEATURE: Numb: Depression in the Music Industry

FEATURE: 

PHOTO CREDIT: Frazer Harrison/Getty Images 

Numb: Depression in the Music Industry

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THE tragic suicide of Linkin Park frontman…

Chester Bennington has, not only shocked the music industry and fans throughout the world, but put into sharp contrast an issue that is silent and indiscriminate: anxiety and depression in music. I know it is not a new phenomenon but, considering if it is the second huge suicide in a few months – Soundgarden’s Chris Cornell earlier this year – it makes me wonder why musicians, who have admiration and success, get to the stage where they would take their own lives. It seems like a last resort that many are confused by. I have been gauging the comments from fans and followers of Bennington. All have been stating how impactful his music was and remains to this day – some encountered Linkin Park as their first gig and it was a formative and life-changing experience. Others, with as much passion, quoted lyrics from the band that touched them. It seems, from a musician who seemed to understand the pain and torment that can break a person, to get to the stage when he saw no way out – and take his own life. Many of the commentators come to the same conclusion: how did it get to that point?! It is a simple and blunt point but not meant to judge or condemn. Instead, there is confusion and sadness. It seemed, from the outside, Bennington was okay, adjusted and fine. In fact, he was active on social media shortly before he died. There was no big 'cry for help' or any signs that the Linkin Park singer would commit suicide. That is the thing with depression: many who become that helpless and severe will kept it secret and not tell others. It would not have been a snap decision or something that was spur of the moment: it would have been as a result of past events, depression and a gradual build-up. Not to pour into the background of Bennington – he was abused when he was younger; could have contributed to his demons – but nobody will truly know why it happened and what was the ‘final straw’, as it were. Depression and anxiety and complex and, a lot of times, silent. I think about Chris Cornell and the reasons why, mere minutes after he came off the stage at a Soundgarden gig, he committed suicide. There, anxiety medication – and their adverse reactions – could have played a part but, when he took to the stage that night, he had already taken the medication.

PHOTO CREDIT: Mike Ehrmann/WireImage

People noticed he was slurring and out of time with the band. In the day before he got up on stage at the Fox Theatre in Detroit, he was on Twitter saying how pumped he was; how the gig was a massive one and it would be a dream gig. How, then, could a man like Cornell go from that elation and excitement to suicidal in such a short time? Did the anxiety medication help take the edge off nerves: did that, in turn, exacerbate the depression he has – that which, ultimately, led to his suicide?! If that were true, and he would have survived without the medication, it raised other issues. Do we need to set up campaigns, counselling services and measures so people do not need to take medication – some which can have life-threatening side-effects? Depression is a complex issue and, no matter how bad it can get, sometimes, people can see no other way to deal with it. One can say, yes, Bennington has millions of fans and that success behind him. How, then, could he either consider suicide – let alone go through with it?! It is easy enough when you are on the outside. One cannot imagine what was in his mind and what was happening around him in the days and weeks before his death. The wounds are, obviously, very fresh so I will not get into the whys and hows of his death. I have seen posting links to mental health charities: if you are in the same position, speak out before it gets to that stage. It seems there is that assumption that the reason people like Bennington commit suicide is, because, they feel alone and like there is nobody to talk to. Is that another reason why high-profile musicians’ deaths seem so stark?! One would think, given their fame, they’d be surrounded by friends and aids. This is a misconception and not always the case. One could not well post a warning message on Twitter and expect fans to help him through and talk him around. Depression is such a heavy and complicated beast: often, it takes more than words and therapy to cure someone. If you get to the stage when you take your life; chances are, all other options would have been explored and exhausted.

PHOTO CREDIT: Unsplash

That seems bleak but there is no single fix or easy way to resolve things. As someone who has suffered depression for eighteen years now; I can attest to how relentless and enigmatic depression is. I have tried counselling and talking – and bleaker things than that – and find it is not helpful or that comforting. Even if someone tries to cheer you or make changes: the problems are still there and you are the same person you were before. Depression is invisible and taking a theological, conversational approach to a chemical imbalance is a hit-and-miss approach. Some will find therapy and discussion open up a hidden burden and means others can help tackle things. In other cases, the mind overcomes and overwhelms everything else. If you have a past trauma or have been low for so long; there will be little discussion can do to mitigate and cure that. Depression is so varied and individual: it cannot be distilled to a single ailment and, as such, have a common remedy. One cannot say that, if Bennington has talked to people weeks/months/years ago, he would be here today. That would be a naïve assumption and insulting to his fight. Other say there is never a depression so bad the only way out would be suicide. I have seen others say that Bennington’s money and fame would have provided a comfort blanket and happiness most are not afforded. It does not matter how famous you are and how many fans you have. One cannot buy happiness – as we know so well – and success can often be the catalyst for self-destruction and isolation. It makes me wonder whether put too much pressure on musicians and whether platforms on social media make them more vulnerable and susceptible? Again, this is a forensic and hypothetical approach but are people becoming more anonymous and detached on Twitter and Facebook? Of course, one could read and see pictures/comments from the likes of Bennington and Cornell and think nothing of it. What is happening in their homes and away from the computer screen is undocumented and the other side of the coin.

PHOTO CREDIT: Unsplash

In many ways, if one were to reveal heartache and depression online, it leaves them prey to trolls and those who will add fuel to the fire. Are people feeling like social media is more an evil than benefit?! I would be remiss to be that revealing on social media. Not only would the responses be, I think, few but the advice might seem cliché and predictable. That is not a shot on good intentions but telling someone ‘you’ll be okay’ or ‘see a doctor before it gets worse’ is rather obvious. Chester Bennington knows all this – and knew how many people loved him – but that wouldn’t have made the difference. As I said; depression is not a single thing and nobody can say how it can be cured (if at all) and how bad it is. Maybe it seems redundant to mention it but I wonder whether we should do more to tackle stigma and issues surrounding it. Depression is an illness and, unlike cancer and other maladies, is not provided as much research and financing. Should the government do more to ensure the health service is set up to deal with the growing mental health crisis. That is what it is: millions away from the music industry go through the same and, sadly, many feel the only way to silence the pain is to commit suicide. The fact we live in a time when the plague of depression is killing so many seems shocking and unacceptable. I feel social media is a mixed blessing and something that is making people feel more alone and anonymous in many ways. It has its benefits and positives but how instrumental is to someone’s mental health and its well-being? Coming back to Chester Bennington and maybe commercial and critical pressures were a factor. Linkin Park released their current album, One More Light, was released in May and received mixed reviews. Many were scathing and said the band were past their best days. Bennington lashed out against critics who claimed the band had sold out and gone soft. He felt they had matured and it was a natural evolution. Critics are entitled to their opinions but it makes me wonder how detrimental and destructive bad reviews can be to a musician’s mental health.

IN THIS PHOTO: Chris Cornell

In the same way there would have been huge pressure on Chris Cornell’s shoulders – before Soundgarden’s gig back in May – maybe the reaction and backlash concerning One More Light was another wound Bennington could not shake off. Perhaps it is not productive analysing and speculating but it is clear we need to take a more proactive and reactive approach to depression. Governments around the world are not spending as much tackling the illness at its roots. Every notable suicide creates a wave of sadness and anger but, when that dies down, do we simply 'move on'? I have said how complex depression is so throwing money at it is not going to be as helpful in a lot of ways. I wonder whether we need to look at the way people are treated on social media; the pressure we put on our biggest musicians and whether, when someone confesses depression, we should detach them, to an extent, away from music and force them to get help. Bennington, right from Linkin Park’s debut album, used music as a way of talking about addiction and depression. Such a raw and honest approach to personal issues resonated with fans and helped so many people deal with their own problems – sad and ironic the author and mouthpiece could not find enough in those words to save himself. I don’t know but feel there is a needlessness and waste. Nobody should get to the point where suicide is the only option: huge musicians like Chester Bennington show how indiscriminate and cruel depression is. I’ll end with something positive – and have created a Linkin Park playlist at the bottom – by stating how important Bennington was to many. I am reading social media comments and people thanking him (Bennington) for the music. It is clear how influential Linkin Park were/are. Many formed a band off of the strength of their 2000 debut, Hybrid Theory. Songs like Numb and In the End are classics of the early-2000s and that album has been ranked as one of the finest in all of Rock. Chester Bennington understood the pains of depression and the Devil of addiction. Many Linkin Park fans were going through the same things; teenagers and young listeners felt less alone and found someone who understood what they were going through.

A band that fought against the generic and mindless themes that were circulating in Rock/Nu-Metal of the time (of their debut) came in with a bold and substantial brand of music that connected with millions. So many set up bands – emulating Linkin Park and entranced by their spirit and sound – whilst many dedicated themselves to the band. A frontman who shared so much of himself through the music, to get to the point where he wanted out of life, has created confusion in many. We must address depression and suicide but it is just as important celebrating the life of a musician who changed so many people’s lives. His legacy will remain forever and many, myself included, preserve his music and find guidance and comfort in it. It was brutal and savage at times but it is that willingness to share himself with the audience that makes it so inspiring and special. Not many artists feel the desire to let people into their souls – whether it is quite traumatic and raw – but that is what made Chester Bennington so special. I will close this by thanking Bennington for his services to music and the enormous impact he made. When the dust has settled, we have to accept that the mental health crisis is getting out of control. It affects celebrities and civilians alike; striking those most undeserving and forcing people to take their life. It seems such a tragedy and one that, in a lot of cases, can be avoided. If you are in a situation where you feel like nobody else around you knows what you’re going through; it is always worth exploring every option. I will finish by borrowing words from NME’s Andrew Trendell. In an article published yesterday - some sage advice came through. In the piece, these words seemed to stand out:

“Experiences vary, and sometimes we might not notice it creeping up on us or our friends or family, but things you would commonly spot are feelings of low confidence, feeling worthless, hopeless, guilty, more irritable and angry than usual, or an inability to enjoy things,” said a spokesman from the Campaign Against Living Miserably (CALM). “Someone might have repetitive negative thoughts, you may feel you are in a bubble: you can’t reach out, and others can’t reach you. A flat feeling. You might know you love your partner or family, but you can’t feel it.

  Physically we might experience low levels of energy, finding it hard to do anything, often to the point where it feels impossible to get out of bed. This can actually be experienced as aches and pains. Sleep may also be affected: too little or too much… CALM added: “If you’re struggling, tell someone you trust. Someone you know who will listen and take you seriously, and don’t worry about how it comes out. ‘I feel shit’ will do to start things off. This first step of talking about it can be the hardest, but the overwhelming majority of people we speak to say it was a relief to let somebody else know and they got a really positive response.”
The symptoms and those brave, important next steps

One in four people are effected by mental health issues each and every year. It can be hard to talk openly about your issues, but you may be surprised at how supportive people can be.

We spoke to leading charities and experts about how to tell if you might be suffering with depression, and how to make that brave move of figuring out what to do next.

“Experiences vary, and sometimes we might not notice it creeping up on us or our friends or family, but things you would commonly spot are feelings of low confidence, feeling worthless, hopeless, guilty, more irritable and angry than usual, or an inability to enjoy things,” said a spokesman from the Campaign Against Living Miserably (CALM). “Someone might have repetitive negative thoughts, you may feel you are in a bubble: you can’t reach out, and others can’t reach you. A flat feeling. You might know you love your partner or family, but you can’t feel it. Physically we might experience low levels of energy, finding it hard to do anything, often to the point where it feels impossible to get out of bed. This can actually be experienced as aches and pains. Sleep may also be affected: too little or too much”.

“If you were looking out for a mate you may see them withdraw from social situations but sometimes they may party all the time,” says CALM. “With blokes particularly, drugs and alcohol are often used as a way of dealing with these feelings. It can also take less to ‘snap’ at others. The important thing is that if you see a change in someone, be there for them, ask them how they’ve been doing and be willing to listen without judgment.”

CALM added: “If you’re struggling, tell someone you trust. Someone you know who will listen and take you seriously, and don’t worry about how it comes out. ‘I feel shit’ will do to start things off. This first step of talking about it can be the hardest, but the overwhelming majority of people we speak to say it was a relief to let somebody else know and they got a really positive response.”

Mental Health charity Young Minds listed some symptoms of depression as:

• Not wanting to do things that you previously enjoyed
• Not wanting to meet up with friends or avoiding social situations
• Sleeping more or less than normal
• Eating more or less than normal
• Feeling irritable, upset, miserable or lonely
• Being self-critical
• Feeling hopeless
• Wanting to self-harm
• Feeling tired and not having any energy

“The most important thing you can do if you think you’re depressed is talk to someone,” a Young Minds spokesman added. “This could be a friend, a family member, a teacher, a colleague, a GP, a counsellor or a confidential helpline. Don’t suffer in silence. Talking about how you’re feeling can really make a difference.”

But what do you do next?

Sue Baker from the charity Time To Change gave us the following top tips – apply these when thinking about having your first conversation about your mental health with someone:

• Be prepared: “Think about the different reactions – positive and negative – that the person might have so you’re prepared. The person will be thinking about their perception of mental health problems, you as a person and how the two fit together.”
• Choose a good time: “Choose a time and place when you feel comfortable and ready to talk.”
• Be ready for lots of questions… or none: “The person you are talking to might have lots of questions or need further information to help them understand. Or they might feel uncomfortable and try to move the conversation on – if this happens it’s still helpful that the first step has been taken.”

PHOTO CREDIT: Unsplash

• An initial reaction might not last: “The person might initially react in a way that’s not helpful – maybe changing the subject, or responding with unhelpful advice or clichés rather than listening. But give them time – it might be the first time they’ve ever had a conversation about mental health.”
• Have some information ready: “Sometimes people find it easier to find out more in their own time. You might want to download some information from the Time to Change website.”
• Keep it light: “We know that sometimes people are afraid to talk about mental health because they feel they don’t know what to say or how to help. So keeping the conversation light will help make you both feel relaxed.”
• Courage is contagious: “Often once mental health is out in the open, people want to talk. Don’t be surprised if your honesty encourages other people to talk about their own experiences.”

PHOTO CREDIT: Unsplash

“Equally, if you’re looking out for a friend, there are lots of simple, everyday ways you can support someone who has a mental health problem,” added Sue. “Small things can make a big difference – like being there to listen, keeping in touch and reminding the other person that you care. You don’t need to be an expert to talk to someone with a mental health problem. And it’s often the small things you do and say that can make a big difference to someone – like asking ‘How are you?’ or dropping them a text to say hello.”

FOR HELP AND ADVICE ON MENTAL HEALTH:

• YOUNG MINDS – The voice for young people’s health and wellbeing
• CALM – The Campaign Against Living Miserably for young men
• Time To Change – Let’s end mental health discrimination
• The Samaritans – Confidential support 24 hours a day

I hope some, if not all, of that advice, is of use – for anyone who feels they are alone and scared. Let’s hope we see fewer suicides in the music industry and we take a more direct and long-lasting approach to mental health service reformation and strengthening. Deaths like that of Linkin Park’s Chester Bennington highlight an alarming problem and one we can all do something to improve/extinguish. In all the sadness and pain people are feeling today, it is just as important to celebrate a singular and extraordinary musician who…

CHANGED so many lives for the better.

FEATURE: The Best Albums of 2017 (So Far): Stormzy – Gang Signs & Prayer

FEATURE:

 

The Best Albums of 2017 (So Far):

 Stormzy – Gang Signs & Prayer

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I was going to select Sleaford Mods’ English Tapas for the final inclusion…

PHOTO CREDIT: Stefan Heinrichs

on this list but felt, as both were pretty strong, Stormzy’s Gang Signs & Prayers just muscled it. English Tapas, in a sense, is a very British album – it looks at national issues and the same parade of dodgy characters one usually finds on a Sleaford album. It is a remarkable record and definitely in this year’s top-ten, thus far. I plumped for Stormy because, not only is it his debut, but it seems to predict a lot of the uncertainty that was to unfold in the country. He speaks about where he is and came from and, in many ways, has managed to push Grime forward. There is the traditional boasting and confidence; songs that look out at the country and what is happening around us. Whilst it does not acutely lambast and chide the government and their mishandling issues and the people – one feels Stormzy is preparing another record that reflects the tense times we live in.

In looking at Gang Signs & Prayer; it is important looking back and the lead-up to the album. Stormzy has been a player on the Grime scene for a few years now but never really gained the recognition and attention he deserved. Perhaps that was a natural reality – nobody catapults right off the block – but, given the strength of his debut album; the seeds were planted right from the off. One listens to cuts from his debut E.P., Dreamers Disease, and hears those sparks and flashes of inspirations. That E.P. was an independent release and gained a modest following. Even then, one felt a special and bright talent was starting to take shape. Maybe the songs (on the E.P.) were not as confident and nuanced as what we find on Gang Signs & Prayer – plenty for people to get excited about, regardless.

Know Me From came out in March 2015 and was another step forward from the London Grime newcomer. Unveiling the final part of his WickedSkengMan freestyle series – I think Judi Dench put out a similar project at the time! – WickedSkengMan 4 onto iTunes – that was joined by a studio version of Stormzy’s Shut Up freestyle. It was a first top-forty for the young artist and an important accomplishment. Not only that but the track’s video racked up millions of views and pushed Stormzy’s music to new audiences. Because of this increased attention and approval; Stormzy helped pushed the song up to eight in the singles chart with a passionate Christmas campaign. There was a gap following that success but it was not wasted. By February this year, a series of billboard campaigns appeared around London that displayed lyrical quotes and the #GSAP 24.02 hashtag. The first taste I, like most, had of the album was the single – and my favourite slice from the album – Big for Your Boots.

With Fraser T. Smith on production duties (with Sir Spyro); it got to number eight in the charts – the joint highest-placed single from Stormzy – it would reach number six eventually and, therefore, became the biggest hit so far. What I love about the album is the fact it harks back to the ‘golden’ age of Grime. I am a big follower of Dizzee Rascal and his immense debut, Boy in da Corner. Maybe Dizzee’s songs were directed more at the estates and characters he encountered as a youth – Dizzee was a teenager when the album was recorded – whereas Stormzy’s debut had a slightly different agenda. What thrilled me about Gang Signs & Prayer is the sheer confidence and mix of sounds displayed throughout. It is not a simple and one-dimensional effort – like one might hear from his peers – but an explorative and cross-pollinating wonder that sounded like it was being performed by someone decades into their career. That lack of nerves and complete conviction meant it connected with critics – one of the most celebrated and loved albums of the year (until that point).

There is pensiveness in the record, as some noted, that balances the bold and, sometimes bolshie, nature of the music. Never combative, reckless or impudent: it is, instead, a wonderfully realised and mature release from an artist taking a huge swing at the competition. Blinded by Your Grace, Pt. 1 has a few writers in the mix but it is Stormzy’s personality and voice that comes through. It is, oddly, a sort of Stevie Wonder-like piano-led song that, as you say it, sounds a bit ridiculous. The fact it is one of the highlights shows what a force Stormzy is. It is an emotional and reflective piece that acts as a pleasing contrast to the braggadocio and swagger one discovers in other moments. Sure, there are a few weaker offerings on Gang Signs & Prayer and some flabbier inclusions – mainly towards the end of the album – but they are compensated by so many triumphs.

One of the biggest criticisms of Grime and Hip-Hop is how repetitive, limited and constrained it can be. In a sixteen tracks debut album; Stormzy would not have survived the critical assault were he to further denigrate the genre by producing a run-of-the-mill record. Instead, knowing the knock British Grime gets, there are a variety of instruments, ideas and stories packed into the songs. There is, yes, bravado and proclamation but, as the songs start to melt away, one finds a sensitive and intelligent young man trying to push Grime beyond its roots – ensuring it is fresh, inspiring and evolving. I feel Gang Signs & Prayer acts as a vital scripture for contemporaries to study. U.S. Rap and Hip-Hop is a lot finer and more reputable than the British alternative – this can change if more follow the example of Stormzy. The fact Stormzy refutes the maxim that a Grime album needs to contain endless bangers is a brave decision. He, on his debut album, keeps the shout-outs and smack-downs to a minimum – preferring to looks inwards and address something deeper and more personal.

Not only is there is some fantastic performances from Stormzy himself but some of the guests he hooks with. Kehlani and Wrecth 32 join MNEK and Raleigh Ritchie add something different to Stormzy’s deep and darker tones. Cigarettes & Cush, featuring Kehlani, is one of the standouts and a song that, once heard, rattles around the head – two very different performers sounding perfectly suited on the song. If one is blown away by the collaborations and guest spots: one cannot ignore and underplay the emotive and tender times on Gang Signs & Prayer. 100 Bags is Stormzy sharing his open-letter to his mother – offering regret for his past indiscretions and foolishness; thanking her for raising him alone and standing by him. There is a song on the album, at the very end, when Stormzy calls MC Crazy Titch – calling from prison as he is serving a life term for murder. That stick-to-basics approach is everything rebelled against on the album.

Accusatory in the way it calls-out Grime artists unwilling to push the genre forward: here, we have a demonstrative evolution and desire to take Grime in new directions. I guess there are basic elements and rather bare-naked offerings on the album – a freestyling over a 2004 instrumental is as sparse as they come. What I mean is the insipid beats and cliché set of lyrics – one would experience on any other Grime album – are dispensed with and replaced by something fuller, more interesting and original. Inspired by artists like Skepta, Lauryn Hill and Frank Ocean; there is a wonderful blend of U.S. Soul/Hip-Hop and British oldskool Grime. All of this unified and comes to fruition in a marvellous debut album that must rank as one of the best albums of the year. Certainly, there will be no British Grime albums that match the scale, scope and quality of Stormzy’s debut – unless Dizzee’s approaching album rekindles his early genius – and, I think, Gang Signs & Prayer becomes more relevant and compelling as time passes. What Stormzy does next is up to him but, whatever he does, he has a huge task…

ECLIPSING a remarkable debut salvo.

___________

 Released

24th February

Recorded:

2015-2017

Genres:

Hip-Hop; Grime; R&B

Length:

58:46

Labels:

#Merky, Warner, ADA

Producers:

Stormzy, Fraser T. Smith; 169, E.Y Beats; Mura Masa, Sir Spyro; SOS, Sunny Kale; Swifta Beater, Wizzy Wow; XTC

DOWNLOAD:

 Cold; Blinded by Your Grace, Pt. 1; 100 Bags; Shut Up

STANDOUT TRACK:

Big for Your Boots

FEATURE: The Best Albums of 2017 (So Far): Kendrick Lamar – DAMN.

FEATURE:

 

The Best Albums of 2017 (So Far): 

Kendrick Lamar – DAMN.

________

OF all the albums I have assessed so far in my...

investigation of this year’s finest (up until this point); few are striking and important as Kendrick Lamar’s DAMN. (or ‘Damn’; depending on whether you are a fan of capital letters and misplaced full-stops). A fulminating, sermonising; searing and finger-pointing album with a dose of braggadocio and political accusation. It is the fourth album from the stunning visionary, Lamar. He first came to my attention with his 2015-owning masterpiece, To Pimp a Butterfly. From its cover – black faces outside The White House – that is both ironic and striking; its music, Jazz-flavoured yet intense and provocative: a stunning work that, rightfully, swept the end-of-year lists. DAMN. is as vitriolic and exclamatory as its title suggests but contains little compositional D.N.A. of To Pimp a Butterfly. Whereas that album has flowing and silky horn beauty: DAMN. is a more punctuated, precise and ‘traditional’ soundtrack. It is purer in its Hip-Hop tones and beats: the songs, as such, are more urgent and have less time to ruminate and explore.

The sheer mass of producers that are credited on DAMN. suggests a militaristic approach to music – a process born out of precision, marketing meetings and committee rancour. In actuality; what one gets from DAMN. is the focal master exerting as much ease, individuality and expression as any of his previous records. One might not witness as much compositional variation, nuance and, perhaps, quality as To Pimp a Butterfly. DAMN. is, in my view, a more essential, timeless and essential disc. It articulates the anger, confusion and divisions of To Pimp a Butterfly but is a more personal, focused and accomplished album – Lamar’s raps, flows and rhymes and slicker, sicker and more compelling than ever. If DAMN. sounds like it was the result of group meetings, big drawing rooms and record label gatherings: the actual origins are a lot more humble and domesticated. He claims most of the album was penned in his mother’s kitchen. The album is the perfect blend of Lamar’s lyrical vision and vital contributions. Mike Will was essential when it comes to inspiring beats – one of the key voices when it came to DAMN.’s finest and most invigorating creations.

Given the hustle, divisions and anger percolating in the U.S. (before the album was released); one can interpret some of DAMN.’s fiery and most judgmental moments as a shot against the Trump administration. In truth, a lot of the songs are more personal and disconnected. There are political references and observations but, for a large part of the record, one hears Lamar switch from bragging and boastful superstar to a tenderhearted young man talking about his roots and family. Blood, the opening track, is Lamar telling a story in which he is shot by a blind woman he’s assisting – not the cosiest and most family-orientated track but one that does not instantly suggest political aggression. The song is inspired by the Book of Deuteronomy and features, in the introduction, an audio clip from Fox News (criticising Lamar).

DNA/DNA. Is Lamar’s most virtuosic and astonishing display on the album – perhaps the finest moment of his career. Few songs are as confident, slick and peerless. Personal and staggering; filled with sick and stunning spits – a tour de force from Lamar. Yah calls out Fox reporter Geraldo Rivera; references religion and breaking the rules of God – the consequences of doing that and the moral choices we make. Element features damning dissing; Feel is one of the deepest and more startling tracks on the album – Lamar looks at the isolation of fame and how he feels detached and distant from his family. Humble is Lamar, with ease, showing why he is leagues above his peers – without letting ego overtake his focus and skill – whereas Lust, in one sense talks of fatigue fighting against the Trump victory and sadness of that, it also looks at material loyalty (and extra-marital temptations). Fear compartmentalises Lamar’s anxieties at various stages in life; Duckworth (Lamar’s real surname) the connection between the American and his father. There is so much going on throughout the album: that balance of personal and the metaphysical/political/socio-economical.

For me, the album could have flopped after To Pimp a Butterfly – Lamar released mix-tapes between albums and showed, even his ‘lesser’ work, was still miles ahead of the competition. The previous L.P. was so celebrated and appreciated: if he were to pen a very similar-sounding album; that could have been a risk. One would understand the temptation of falling back on that album and trying to replicate it. Instead, against all odds; Lamar created something less extravagant, inventive and cross-pollinating. DAMN. lingers because of its directness and incredible words – rather than the luscious and broad-minded compositions. The lyrics are on-point, hugely inspiring and thought-provoking. Lamar’s vocals are at their heightened and class-leading best. There is that mix of old-school and modern; soul-baring and widespread – these contrasts make DAMN. such an exhilarating and unpredictable thrill-ride. The occasional cameos (Rihanna’s on Loyalty the most memorable) could have shifted focus and made the record crowded – the fact Lamar is the only voice one hears is no slight at his cohorts; proof he is a presence that cannot be equalled.

Lamar’s voice adopts a variety of guises and personas – inhibiting various worlds and making each song sound new, crucial and hugely impressive. There are few artists, if any, with the confidence and command of Kendrick Lamar. He has every right to be this forthright and assured: his sales, reviews and popularity have arrived off the back of a sublime and faultless body of work. DAMN. shows he is adaptable and ever-evolving. Taking a step back sound-wise means he has the chance to leap forward in terms of his story-telling and performance. Maybe new ground is no broken but is afford Lamar chance to revisit old ground and return to his roots – both musical and familial. The sheer dynamism of his rapping is enough to convert those who prefer their music a little calmer and less controversial.

He is, you know, not an artist who alienates, plays to elites or those who ‘get’ Hip-Hop. He speaks on behalf of the world and, as a result, makes music for everyone. There are few artists who do that: fewer who can create an album as timeless (as we shall surely see) and mesmeric as DAMN. Its title is very apt given the quality, aggressions and resonance. Those aggressions are never petulant, profane and spiteful – every harsh and anxious moment is sublimely tuned and channelled into some of the most astonishing music you will hear. DAMN., in my mind, is going to sweep the end-of-year lists – exactly the same way To Pimp a Butterfly two years ago. It only takes a single listen of DAMN. to realise what a trajectory…

PHOTO CREDIT: Noel Vasquez/GC Images

KENDRICK Lamar is on.

___________

 Released

14th April

Genre:

Hip-Hop

Length:

55:01

Labels:

Top Dawg, Aftermath, Interscope

Producers:

Anthony ‘Top Dawg’, Dr. Dre; 9th Wonder, The Alchemist; Bēkon, BadBadNotGood; Cardo, DJ Dahi; Greg Kurstin, James Blake; Mike Will Made It, Mike Hector; Pluss, Ricci Riera; Soundwave, Steve Lacy; Terrace Martin, Tae Beast; Teddy Walton, Ying Exclusive

DOWNLOAD:

 Element; Loyalty, Humble; Lust, Duckworth

STANDOUT TRACK:

DNA

FEATURE: Bands on the Run: Is Mainstream Music Becoming a Solo Market?

FEATURE:

 

Bands on the Run:

 

 

Is Mainstream Music Becoming a Solo Market?

________

AS I continue my feature about the best albums of…

IN THIS PHOTO: The Amazons/PHOTO CREDIT: Matt Goff

this year; I am noticing one thing: none of them is created by bands. Well, one of them is a duo but, in terms of numbers – and the finest records of this year – one hardly gets past the three-piece. Look at the critical consensus and there is the proliferation of solo artists on their minds. Kendrick Lamar, Lorde and Ed Sheeran (whether you like him or not); Laura Marling, Stormzy and Waxahatchee – throw in The Is the Kit and Kehlani for good measure! None of these acts needs another voice to get their songs out to the public. As a flip-side to the great albums of this year: some of the biggest disappointments have been from bands. London Grammar are, to be fair, a trio but have left many cold with their second album, Truth Is a Beautiful Thing. Same goes with Royal Blood (a duo) but I am finding those mediocre albums – as determined by critics – are not being produced by solo artists, by and large. Imagine Dragons’ Evolve and The Amazons’ eponymous album have not registered big reactions. TLC, Linkin Park and Maximo Park have created less-than-wonderful albums. Maybe it is a funny year but I am finding few bands/duos/trios creating year-defining records. The xx are, perhaps, the only band (a trio, technically) who have made any sort of statement this year. It is a singles-game in terms of the most promising albums. One can quibble with a few names here and there. Fleet Foxes’ Crack Up is by a band but I see the album as a solo vehicle for Robin Pecknold – he writes the songs and dominates throughout. Let me back up and bring in some examples. The reason I have put Amazons as my thumbnail/featured photo is because they represented the resurgence/hope in new guitar bands. When I heard their single, Little Something, I was so excited by the Reading band and what their debut album would contain. Aside from having a stunning and vivid front cover – check it out – and some excellent, memorable song titles – the substance of the songs was a little lacking. Too many tracks geared towards the festival crowds and the audiences they graced/still do – the sweating throngs on the 'toilet circuit'. Many would argue that is what a guitar band should be about but there is little variation in terms of the music, themes and sounds. In forging their own sound; The Amazons have slipped into the realms of the generic and forgettable.

IN THIS PHOTO: Royal Blood/PHOTO CREDIT: Matt Davies

The same could be said of Royal Blood. The Brighton duo had my positively wet – expunge that image if you can@ – when they announced (finally!) their sophomore album, How Did We Get So Dark? Following an eternal gap from their debut; the only thing that has changed in the years since is a few touches here and there – Pop backing vocals and some wider lyrical concerns. The sound has rigidly remained the same: pummelled percussion and meaty, loud-as-an-atom-bomb bass. It is as though the best Rock artists are writing music to blast the masses into next week. It is the rugged working-class and the honest, raw Rock – well, that is what we DO need. There is something too clinical and ‘safe’ about so many of this year’s band-made Rock records. For every promising newcomer like Cabbage – they divide opinion but seem more promising – there are mainstream artists who seem more intent on writing songs for the radio than genuinely trying to progress Rock and Indie music. The legendary artists/bands of the past endured and impressed because they did something genuinely fresh and exciting. Even if they had an established career; one noticed a step forward between albums – new sounds and ideas. Royal Blood, Maximo Park; Imagine Dragons, The Flaming Lips and the likes – they seem to have lost their original promise and purpose. Whether I can turn this semi-rant into a cogent and cohesive piece is to be seen but there is method and logic in the argument. How many mainstream band-created albums can you name that you are hooked by?! There might be one or two but I am betting most of your favourites (from this year) have been made by solo artists – maybe a duo at a push. Perhaps there is no real reason other than the fact the most promising bands are not at mainstream level. A great deal of the poll-makers are recommending solo artists as their tips for success – is this deterring bands and creating a fallacy?! In the past, it was assumed bands ruled the roost.

IN THIS PHOTO: Foo Fighters

Look at the festival bills and one assumes Foo Fighters, Muse and Radiohead are what the public wants. The trouble is, they are older acts and, aside from Radiohead, the others have not released a new album for a while. Foo Fighters have announced Concrete and Gold (terrible title) and, if Run is anything to go by, it might be okay – their last album was a struggle to get through to; it is a bit iffy. Muse released Drones in 2015 and that was not overly-well-received. Coldplay, another big festival act, are not swimming in classic albums: one has to look lower down the list of festival names to discover truly worthy bands. If Rock, or mainstream at least, is showing a regressive attitude; it appears the underground are showing more intrigue. I shall come to them but want to present the flip-side to my slagheap of criticism. I do not write this piece to shame and scold the so-called ‘best’ bands around. In fact, two of the most promising releases of the year are going to be from bands. If the digitally-produced simians of Gorillaz didn’t live up the hype surrounding their album, Humanz (too many Zs, Damo!) then Arcade Fire surely will! The Canadian band has released singles from their forthcoming album, Everything Now (out on 28th of this month). The title track has delirious, kooky panpipes; Electric Blue – the latest revelation – sports some of their strongest performances for years – Creature Comfort and Signs of Life are terrific tunes. They look set to top Reflektor – an album that, rarely for them, was not met with universal acclaim. Everything Now seems like it will be the veritable dog’s wotsits! Similarly, responding to a four-year gap after Like Clockwork…, Josh Homme’s acolytes have teased new slice-of-cool, The Way You Used to Do. Villains is out on 25th August but the first single from that record brings in sounds of Swing and crooning legends; gilded to a stone-cold Rock swagger – the results are exhilarating and turbo-charged. It is a snarling, canine slice of dance that promises much gold from the Californian band. I am already waxing my knees from all the dancing I am going to do when the album arrives.

It seems like Queens of the Stone Age are one of the bands who, despite the fact they have been in the game a couple of decades, are capable of consistency, innovation and malleability. THAT is what the likes of The Amazons, Royal Blood and Imagine Dragons could learn from. Queens’ could easily produce Rated R part two but, instead, bring in fresh influence and sounds. Not every band is blessed with the same skillset and natural-born command of Josh Homme but that is not to say we should see such a dearth of compelling band music. I have highlighted two bands who shall not disappoint: is that enough to counterbalance the raft of underwhelming, half-cooked releases? I would say not, but wonder if this is a malady reserved for the mainstream? Perhaps the sensation has bypassed the blood-brain barrier and gone straight to the top. It seems, given its comparable mass and variety; the bands of the underground are priming themselves for a revolt. I guess it is hard to discipline and organise the truly great unsigned material from that which is merely okay. The sheer volume and berth of the underground means there is a subjectiveness saying THAT is where the best bands will come from. In the same way, Rock is not dead – it does need a colonoscopy, to be fair – bands are not a spent force. Last year was more productive for the market and I guess things will pick up this year. I am glad solo artists are getting the lion-share of the attention but it makes me wonder why. In terms of newer acts; it is pretty equal between bands/solo artists/duos etc. In the mainstream, I feel there is a mass majority of solo artists/duos. I did not realise the tide had turned this way because, as recently as a few years ago, this was not the case. One would see a great band doing well which, in turn, would compel their peers to up their game – that would create a wave and knock-on-effect. Is the reason we are seeing fewer great band albums due to their being no true leader in the field?!

IN THIS PHOTO: Laura Marling/PHOTO CREDIT: Lauren Connelly

I have mentioned the likes of Radiohead and Foo Fighters but we need new blood to strike and compel the field to create truly wonderful music. I feel there is scepticism from the media that is biased towards solo artists. Again, this was not the case until recently. Has something happened to sour the waters or was there the feeling solo artists were not getting proper exposure?! Whatever the reason, I am concerned this year, like last, will be synonymous with terrific albums by solo artists. Last year’s best was, in my view, a mix of Hip-Hop and R&B classics – Beyoncé chief among them. This year, so far, Kendrick Lamar, Laura Marling and Lorde look set to fight for the gold medal. Maybe it is their style of music that is being favoured – bands unable to replicate what the people want. HAIM, another band tipped for a lot of acclaim, have not produced their best work this year – same goes alt-j (maligned by a lot of critics and listeners after witnessing their album, Relaxer). I genuinely think it is an issue reserved to the mainstream right now. I get to see the finest new bands develop and strike – not just here, but all around the world. How easy it will be for the crop’s cream to assimilate into the mainstream is hard to say but we definitely need to see a chance. I am hopeful we will see a bit of a turnaround for the fortunes of the mainstream band dollar. This year, especially, has been lukewarm at best. Whether future releases from Arcade Fire and Queens of the Stone Age will be joined by a litter of unexpected quality releases, has yet to be seen. What I DO know is it is the solo artists of music making the big impact on critics. Whatever the psychology, origin and solution: I am keen to see whether the second-half of 2017 is any different. I hope we are not seeing a prevarication of mainstream band wonder – where solo artists are stealing most of the affection. If this trend continues over the next few years; it will have a damaging effect on the mind-set of new bands hoping to make a success of their careers. THAT, more than anything else…

IN THIS PHOTO: Arcade Fire

WOULD be a huge tragedy.

FEATURE: The Best Albums of 2017 (So Far): Lorde - Melodrama

FEATURE:

 

The Best Albums of 2017 (So Far):

 

  

Lorde - Melodrama

________

AFTER I finished my laudatory piece about Laura Marling…

and her latest album, Semper Femina - it occurred to me how young she is. To write an album like that at twenty-seven is a remarkable feat: the fact that is her sixth album is truly remarkable. Now I face twenty-year-old New Zealander Lorde and I am back in that agog state. Following her 2013 debut, Pure Heroine, critics were impressed by her honesty, striking lyrics and addictive, incredible voice. Some were less kind but it was a felt, from an artist still in her teens, better work would arrive. It did not take long for Lorde to plan her second attack. Not long after the release of the album, a couple of months, in fact, Melodrama was starting to take place. If, in her words, Pure Heroine was the teenage feeling of preparing for a party – putting lights up, getting ready and sound-tracking the never-ending preening, preparing and clothing choices – this album is the youngster at the party and deep in the music. Maybe a clever way of explaining a mature step forward; one cannot help notice how different Melodrama is (to Pure Heroine). Whilst, unlike Sampha and Laura Marling (my two previous subjects in this feature), there are more writers/producers in the mix – it is not to say Melodrama is the work of a committee.

PHOTO CREDIT: Dean Chalkley

Eight of the eleven tracks feature Lorde going solo on the lyrics: she co-writes the music on all tracks – her and Jack Antonoff taking care of things for the most part. One feels Lorde could have written everything herself but found a connection and affiliation with Antonoff. Recorded over an eighteen-month period; there is a sense of realisation, discovery and growth on Melodrama. Pure Heroine was a young artist taking her first steps and preparing herself for the party, as it were. Melodrama is the full-flight, volume-turned-up-loud epicentre of the party. Not that there is needless bombast, petulance and rebellion. Instead, Lorde’s intensity and volume come in the form of maturity, huge originality and consistently brilliant lyrics. That might sound like a middle-aged version of ‘cool’ but, considering she was still a teenager when the final notes were being recorded, that is incredibly impressive. Lorde’s second album is, for the most part, battles with loneliness in all its forms.

Many have theorised the songs document a relationship breakup – the New Zealand artist has denied this – but it is about certain awkwardness and the pressures of fame. One would see someone like Lorde and assume – given her success and popularity – she would be fighting people off. Melodrama is a revealing look inside a young woman who is juggling music responsibilities and growing up – trying to find company but finding it hard to come by. Music is, intrinsically, a lonely and tough industry: few albums address it and redact the truth. Green Light, the first single from the album, is one of the more traditional breakup songs- Lorde stated how she loves breakup songs and gets an understanding of that side; not having to Google it and learn that way. Watching Lorde’s triumphant appearance at this year’s Glastonbury was a revelation to me. She was on a huge stage in front of thousands of people. It would be understandable were the nerves to get to her – daunted by the reality of being centre-stage and under the spotlight. Her charming, personal and humble performance was as real and authentic as they come. No vainglorious boasting and ego: a woman, at times dazed, who was overwhelmed by the crowds and their love. This sense of personality and modesty comes through in the music. Tracks like The Louvre – the heroine hanging in the back of the gallery; not quite prestigious enough to be in the atrium or public gaze – is a sheepish woman who wants attention - but knows she might have to settle for being a wallflower.

IMAGE CREDIT: Getty

That is unfair because, hearing Lorde talk and listen to her music, she is second to nobody. It makes Melodrama’s consistency, highlights and themes harder to take – knowing she deserves to be happier and more resolved. Perhaps loneliness and isolation have fuelled some of the greatest albums ever. Taking inspiration from Tom Petty, Paul Simon and Joni Mitchell; Lorde wanted Melodrama to be a catharsis but, also, combine hedonism and vulnerability. Writer in the Dark warns against kissing a singer/writer like her – a blend of kiss-and-tell caution and falling for someone who will lead the guy astray. Album highlight Liability is a bare and gorgeously-sung track – the second single from the album – where the heroine sings from the diary pages and confesses her inner fears (the track is under-produced to allow the words to strike and register more clearly).

Having grown up in the public focus since the age of seventeen; Lorde had no choice but live with that lifestyle. A young woman from the offset – not a petulant or pouting teen – she has become an apostle of maturity and acting your age. So many mainstream Pop stars are immature and too reliant on sex, relations and drama to sell their album. Lorde, by contrast, shows a dignity and steeliness her contemporaries should learn from. The input of Fun and Bleachers man Jack Antonoff is pivotal. He brings in retro. synths., stunning signatures and big, empathic moments: contrasting from Pure Heroine’s less diverse and ‘calmer’s sounds. Colour seems to be a background theme for Melodrama – and Lorde as a woman. The go-now green of the title track to the pastels and watercolours of The Louvre; the black and grey heaviness of Sober to the black-red-and-pink femme fatale allure of Writer in the Dark contributes to a kaleidoscopic collage of textures and tones.

If The Louvre is more about the doomed infancy of a causal relationship: one can extrapolate a sense of anonymity, invisibility and solitude. One hears literalism and obliqueness mix throughout the album. There are autobiographical elements and fictional passages: these contrasts and consistencies result in an album filled with wonder, promise and mysticism. Lorde is queen and master of everything she surveys on Melodrama. Her vocals range from bewitching and low-growled to high-pitched and ethereal. The songwriting is among the most original, personal and surprising you will hear all year – few expected such an evolution from an artist so young. Production values are rich and luscious when needed; under-done and subtle when the music calls for less tangible parentage. Because of this intelligent and wise approach to the music; critics have been buckled and seduced by the young Lorde. She continues to up the game and, at twenty, show there are plenty more albums left in her. Melodrama is a dizzying and wondrous record that has…

FEW rivals this year.

___________

Released

16th June

Recorded:

July 2015 – January 2017

Genres:

Pop; Electro.-Pop

Length:

40:58

Labels:

Lava, Republic

Producers:

Lorde, Jack Antonoff; Jean-Benoît Dunckel, Flume; Frank Dukes, Kuk Harrell; Joel Little, Malay; S1 and Andrew Wyatt

DOWNLOAD:

Greenlight, Sober; The Louvre, Sober II (Melodrama); Writer in the Dark, Supercut

STANDOUT TRACK:

Liability

FEATURE: The Best Albums of 2017 (So Far): Sampha - Process

FEATURE:

The Best Albums of 2017 (So Far):

 

  

Sampha - Process

________

THERE is a lot of talk concerning race in music and whether…

the industry is doing enough to support minorities. Whatever your views on this debate; there are a lot of inventive and compelling black artists that are complicated the debate – in a good way, that is. Many assume minority artists play in minority genres – it is a specious argument but one, ironically, created by the media/a section of people pigeonholing these acts to begin with. Step forward Sampha who is impossible to categorise and label. His music could be described as Neo-Soul or R&B; maybe Pop with a bit of Hip-Hop. He is at his most affecting when opening the heart and speaking from his own experiences. This is evident on the astonishing, articulate and deeply moving debut, Process. In past years, the British singer-songwriter has made use of his bedroom/homemade studio. Residing in Modern, South London; Sampha is known for his collaborations with Jessie Ware, Drake and Solange – among many others. Born to Sierra Leonean parents on 1988; the young Sampha (Sampha Sisay to give him his full name) played piano at his parents’ home in Morden. After his older brother made him a makeshift studio – and the curious youngster engrossed his mind with old recordings and new discoveries – the flame was lit. E.P.s Sundanza (2010) and Dual (2013) showed immense process and captured the intimacy and rawness of Sampha’s music. It was inevitable the hungry and ambitious musician would seek the comforts and choices of the studio.

Recorded at various studios in London; Process was, befitting of its title, a gradual coming-together of songs that were finally released on 3rd February. Not that Process is a huge expansion and sea change from his E.P.s. The songs are finely crafted and meticulous: time to make the notes and ideas gestate, grow and appeal. Around the time the album was written; Sampha lost his mother to cancer. Process, in a sense, is the articulation of the harrowed and devastated man coming to terms with a huge tragedy. On the album, one got a contrasted and afflicted man who was wrestling with grief and loss – someone unsure whether he has abandoned his roots and stepped too far into the mainstream. That could never be. Sampha was progressing from the confines of home and embracing the studio and its surroundings. Process has Sampha’s London roots ingrained in every note: memories and tales of his mother are entwined in the soil like a mighty tree.

It would be hard to give the music (on Process) its lustrous, cinematic and emotional immediacy were it not for some of the more hi-tech recording equipment available at the time. Sure, Sampha would have been able to create a more haunted and bare-naked sound at the home studio. Process is not a man taking a chance to follow money and a label: it is the natural reaction to the circumstances that provoked the album’s progeny. When writing the songs, he would have been acutely aware they would be played on radio – or, at the very least, make their way to people all around the world. The importance of the subject matter and instrumentations/sounds/values needed to authentically define his emotional and creative mindset could only emanate from the studio. He has not compromised values or lost any of his potency and credibility. Process has a sound that is not over-produced: it is organic and free yet has experimentation and scope. THAT is the reason Sampha, in his words and nobody else, felt he had betrayed his roots. One could not hear that unique approach to arrangements without an over-reliance on hand-held technologies.

Songs like Plastic 100°C has koto sounds and is soothing and panicked, all at once. Kora Sings boasts juxtaposed and intense percussive scramble; Reverse Faults showcases Sampha’s gift with samples and sonic patchwork – weaving it into something unnerving, strange and beautiful. What impresses me, and most critics, is that steadfast refusal to conform with the market and copycatting peers. Sampha did not feel the need to become the next Kanye West or Drake. He retained his London blood and distinct, peerless attitude to music and composition. An almost anonymous presence could easily sink without trace. The fact Process is no ordinary album is just as well: it is a moment in time that cements Sampha’s reputation as one of the world’s most impressive and vibrant songwriters.

Compassionate and soul-baring; strident and meditative at other times – a remarkable album that few people were expecting. Given the aftermath of his mother’s death; it would be forgivable were Process an inconsistent and self-indulgent mess. Sampha does not look for sympathy not turn the album into a family photo album. Instead, it is an album everyone can understand and feel connected to. (No One Knows Me) Like the Piano is, perhaps, the most affecting song concerning his mother – that early experience with the instrument and his mother’s hand in that. Rather than shy away from the heartache, stress and troubles experienced: Process is an execration and detox, in a way. It is a brave young man revealing memories and words that many would want to keep concealed – due to them being deeply personal and sacred. That is one reason why Process resounded with critics. Sampha, on the record, managed to turn tragedy into something beautiful and uplifting. There are genuine moments of sorrow but, against the tide of loss and change, there is hope and the need to process things and make sense.

Given Sampha’s work with artists like Jessie Ware; it would have been easy enough to have her sing on, say, Take Me Inside. Process is a personal/familial sermon so would seem disingenuous and tainted were too many other bodies to tell the story. Aside from a couple of co-writes later on the album – Timmy’s Prayer has Kanye West on the credits – it is Sampha alone. Three singles have been released from the album – Timmy’s Prayer, Blood on Me and (No One Knows Me) Like the Piano – and that is quite rare in this day. Many artists release five or six songs from a record. Perhaps there is another single coming but, one suspects Sampha is already looking ahead to his next release. Whether you agree with Sampha’s assertion he has abandoned a bit of his roots, one cannot deny the sheer wonder available throughout Process. It is one of the most impressive debut albums in recent years and, when it comes to this year’s best albums, it is…

PHOTO CREDIT: foxyneela

RIGHT near the top of the list.

___________

Released

3rd February

Recorded:

2014-2016

Genres:

Alternative-R&B; Neo-Soul

Length:

40:17

Label:

Young Turks

Producers:

Sampha and Rodaidh McDonald

DOWNLOAD:

Kora Sings, (No One Knows Me) Like the Piano; Reverse Faults; Incomplete Kisses

STANDOUT TRACK:

Blood on Me

FEATURE: The Best Albums of 2017 (So Far): Laura Marling – Semper Femina

FEATURE:

 

The Best Albums of 2017 (So Far): 

  Laura Marling – Semper Femina

________

IN the same way I have conducted a round-up of the…

best songs of the year so far – in my opinion – I will do a little piece on five albums that, in this journalist’s humble view, have defined 2017. We are just over the half-way mark but, already there has been a bounty of great material. The first album, and one that could well claim the top-spot when I do my end-of-year lis, is Laura Marling’s Semper Femina. Two years after Short Movie (an album where Marling co-produced and felt like, in a way, she didn’t exert enough control) it was no surprise to hear of a new arrival from the Berkshire musician. I have followed Marling’s career since the beginning and KNEW Semper Femina would be a great album – I did not expect it to still be bouncing around my brain four months after its release. The title (‘Semper Femina’) is culled from the poet Virgil and is a truncated sentiment from a longer line of Latin – roughly translates to ‘woman is ever a fickle and changeable thing’. Given Marling’s proactive stance tackling sexual inequality in music society; that title might seem like a tongue-in-cheek approach.

The record is confident and, in places, angry offering from an artist who, nine years since her debut (Alas, I Cannot Swim) has yet to put a foot wrong. In fact, such is the consistency and variation on Semper Femina – it suggests there will be another album along very soon. Initially; the album was intended to be a man’s perspective as perceived by a woman. That would seem apt given the title and translation but Marling realised the narrative had to be hers. Semper Femina HAD to be from a woman’s viewpoint and a record that addressed a woman’s world – as written by a woman. It is no surprise Semper Femina has a transitory and itinerant nature. Conceived in Marling’s (at-then) home in Los Angeles; the young musician soon moved back to London – she moved to L.A. in a period of confusion and self-discovery. One can hear elements of Californian life in the music but, on a whole, it is more universal, personal and poetic.

Songs like The Valley demonstrates that reliably intelligent and poetic pen. At a time when artists like Lucy Rose are progressing and blossoming – one can argue they take a lot from Marling. Certainly, those deep and nuanced lyrics; the stunning pure (yet elastic) voice and immense candour can be applied to both Marling and Lucy Rose. There is, like Short Movie and other Marling work, a nod to Joni Mitchell. Maybe it was the Californian air but one can hear elements of Mitchell – her Ladies of the Canyon and Blue albums – on delicate and expertly-picked tracks like Noll. Wild Fire and Nothing, Not Nearly burn with passion and promise but are some of the slower, more contemplative numbers. Lead-off single, Soothing, contains fantastic Jazz bass and slinks and slithers (Blake Mills co-writes). It was one of my favourite singles of last year – the single was released in late in 2016 – and shows new direction and sounds in Marling’s arsenal. Despite the fact Semper Femina is nine-tracks-long; one hears Marling muse on relationships, short-lived ambitions and reflections on human life. One senses a woman experience turbulence and uncertainty: often refracted away from the heart to encapsulate a wider, less concise malaise.

Less electric, direct and simplistic than some of her earlier work; here, there are Jazz expressions and new textures: vibrator guitar lines and shimmering, evocative strings – one notes whispers of Nick Drake in some moments. “I do well to serve Nouel, whatever service I may be…Fickle and changeable, weighing down on me” might be a twenty-seven-year-old burdened by responsibility and wisdom but it has an oblique manner (one can interpret it in various ways). Semper Femina, away from gender concerns and female purpose, looks at the younger Marling compared to her current incumbent. That sense of wanting to return to less-responsible ways: more spirited and less indebted to maturity and consequence. In the end – chronologically and realisation-wise – it that need for a certain transformation that leads to something structured and mature. The album ends with Marling, one suspects, plotting a future and, whilst older than ever and missing elements of her past – a woman keen to press forward and explore. Semper Femina is a fantastic record and one that overspills with incredible songwriting and near-career-defining songs. It is not a truly great year in music unless Laura Marling releases an album: Semper Femina could well top many critics’ ‘Best of 2017’ lists in five months. In my opinion, it would…

BE thoroughly deserved.

____________

Released:

10thMarch 

Recorded:

2016

Genres:

Folk-Rock; Alternative-Rock

Length:

42:19

Label:

More Alarming Records

Producer:

Blake Mills

DOWNLOAD:

Wild Fire, Don't Pass Me By; Nouel, Nothing, Not Nearly

STANDOUT TRACK:

Soothing

__________

FEATURE: Music Makers Festival 2017

FEATURE: 

 Music Makers Festival 2017

________

SOME of the biggest festivals of the year have…

already finished and left us. After the first bout of big festivals: the nation is priming itself for another round of terrific events. I am looking at the calendar and seeing what is coming up. It is going to be a fantastic next few months – some awesome festivals and artists one can enjoy. Away from those traditional and perennial standouts: there is a legion of smaller festivals one should be aware of. Chief among them is the exciting lineup that has already been announced. I will put in the press release; a bit about the organisers and details of the acts involved – and how you can get tickets:

Music Makers is a brand new two-day independent music festival taking place in London on the 5th and 6th of August 2017. Organised and curated with love, by the team behind London-based musician Albert Man. The festival celebrates other fellow musicians that both Albert Man and his manager, Manoja Ullmann, have had the pleasure of getting to know over the years during their time in the business.

The event is taking place at Omnibus Theatre, a converted Victorian Library, situated in the heart of Clapham Old Town. Showcasing 16 talented artists/bands (consisting of solo artists, duos, trios and full bands) over the two days, the festival will have 8 unique performances each day in the main theatre.

The line-up includes Michele Stodart (The Magic Numbers), Prose, Tom Speight, Dani Sylvia, Albert Man, Up Down Go Machine, Anna Pancaldi, Brian McGovern, Tara Lee, The City and Us, Belle Roscoe, Adam Masterson, Ilona, Mark Sullivan, Matt Perriment and Steve Young.

Early bird tickets for the two days are available in limited numbers as well as day tickets for either the Saturday or the Sunday.

ORGANISER: MANOJA ULLMANN

Twitter: https://twitter.com/ManojaUllmann

Email: manoja@albertman.com 

Phone: +44 (0) 7918652368

ORGANISER: ALBERT MAN

Official: http://www.albertman.com/

Facebook: https://www.facebook.com/albertmanmusic/

LOCATION:

OMNIBUS THEATRE
 

1 CLAPHAM COMMON NORTH SIDE
LONDON, SW4 0QW

DAY 1

PROSE (5th August, 10 P.M.)

Facebook: https://www.facebook.com/prosemusicuk/

Up Down Go Machine (5th August, 9:15 P.M.)

Facebook: https://www.facebook.com/updowngomachine/

Dani Sylvia (5th August, 8:30 P.M.)

Facebook: https://www.facebook.com/danisylviamusic/

Belle Roscoe (5th August, 7:45 P.M.)

Official: https://www.belleroscoe.com/

ILONA (5th August, 7 P.M.)

PHOTO CREDIT: Alex Berger Photography 

Facebook: https://www.facebook.com/ilonaartist/

Adam Masterson (5th August, 6:15 P.M.)

Facebook: https://www.facebook.com/Adam-Masterson-98072377139/?ref=br_rs

Matt Perriment (5th August, 5:15 P.M.)

PHOTO CREDIT: Joe Lindsay Photography

Facebook: https://www.facebook.com/MattPerrimentMusic/

Steve Young (5th August, 4:45 P.M.)

Facebook: https://www.facebook.com/steveyounguk/

DAY 2

Michele Stodart (6th August, 10 P.M.)

Official: http://michelestodart.co.uk/

Tom Speight (6th August, 9:15 P.M.)

Facebook: https://www.facebook.com/TomSpeightMusic/

Albert Man (6th August, 8:30 P.M.)

Official: http://www.albertman.com/

The City and Us (6th August, 7:45 P.M.)

Facebook: https://www.facebook.com/thecityandusband/?ref=br_rs

Anna Pancaldi (6th August, 7:00 P.M.)

Facebook: https://www.facebook.com/annapancaldimusic/

Brian McGovern (6th August, 6:15 P.M.)

Facebook: https://www.facebook.com/bmcgovernmusic/

Tara Lee (6th August, 5:30 P.M.)

PHOTO CREDIT: @wolfmarloh

Facebook: https://www.facebook.com/TaraLeeArtist/

Mark Sullivan (6th August, 4:45 P.M.)

Facebook: https://www.facebook.com/marksullivanmusic/

__________

Follow Music Makers Festival 2017:

Website: www.musicmakersfestival.com 
Tickets: www.musicmakersfestival.com/tickets 
Facebook event: www.facebook.com/events/120431828554671/ 
Facebook: /musicmakersfest 
Twitter: /musicmakersfest 
Instagram: /musicmakersfest

FEATURE: Nick Drake: Five Leaves Under the Fruit Tree

FEATURE:

 

Nick Drake:

 

 Five Leaves Under the Fruit Tree

________

A few days back, the forty-eighth anniversary of Nick Drake’s debut album…

Five Leaves Left was marked. Born on 19th June, 1948; Nick Drake signed to Island Records aged twenty and, as is the case with a lot of legends, gained mass popularity after his death. It is hard to believe – or perhaps not – his albums did not sell more than a-few-thousand copies. In this day and age, it would be seen as a travesty: then, due to the lack of critical expectation and public awareness; few made too much of a drama about it. One of the reasons behind Nick Drake’s lifetime anonymity could be down to his ‘enigmatic’ approach to promotion. Few photos of him exist – making this feature a bit desperate when it comes to sourcing images – and there is a surfeit of interviews. That is the way Drake operated: keeping himself away from the marketing and promotional side of things: concentrating on the music and his art. Today, he would not last too long and be resigned to the status of ‘cult hero’ or something minor, perhaps. It is as well people have proffered and preserved his music through the decades – one wonders whether he would have such a legacy if Drake relied on the critics of the time to pass his music to future generations. For me, the passing of Five Leaves Left’s anniversary serves as a reminder as to the sheer talent and relevance of Drake. On 26th November, 1974, Drake died of an overdose – whether intentional or accidental – and, many would say, had given up on life. The final years were marked by a progressive sense of retreat and unhappiness – although, his family claim his mood was positive leading up to his death. Strip away the mythology, psychology and rumours and see Nick Drake as the incredible songwriter he was – and a hero that inspires musicians today. I will have a look at his three studio albums – and the effect he has had on contemporary musicians – but one cannot underestimate the effect Nick Drake had on music. In such a short career, he wowed critics and gained a reputation as one of the finest Folk songwriters of the 1970s.

In fact, that last point is doing him a disservice: Drake is one of the greatest songwriters ever and, during his short career, had few equals. The way he wrote and expressed himself; the candour, gravitas and emotion his voice – a fine and extraordinary poet who could convey so much with the merest picking of the guitar strings. The 1979 album, Fruit Tree, allowed Drake’s back catalogue to be reopened – his music was in danger of being overlooked after his death – and provided an opportunity for musicians of the time to connect with a unique artist. The likes of Robert Smith and Peter Buck, during the 1980s, cited Drake as an influence. Today, I hear the tones and colours of Nick Drake in so many artists performing today – not only those who perform Folk music. Drake’s language and lyrics – from mundane items like a garden shed or solitary fruit tree; scenes of the city at dusk or the complexities and demons of the human mind – have given modern artists more confidence. Antifolk artists – who rebel against, what they see as, a rather stilted and limited lyrical palette in Folk – have bonded to Nick Drake. He was not someone who limited himself or followed the pack. The debut, Five Leaves Left, arrived in 1969 – Drake started recording in 1968 with Joe Boyd as producer – and found the student Drake skipping lectures so he could record the album in London. Inspired by John Simon’s production work on Leonard Cohen’s debut album: Boyd was keen to capture the same sort of intimacy and gravity – without reverb, Pop shine and cheesiness. He recruited legendary musicians Richard Thompson (Fairport Convention) and Danny Thompson (Pentangle) to help with the album – Richard A. Hewson was drafted to arrange the strings. Despite the glorious results we have all grown accustomed to: the early stages of production were anything but smooth. Drake and Boyd clashed over artistic ideas. Boyd, advocating George Martin’s idea of using the studio as an instrument, riled the more organic-minded Drake. Both, during early sessions, were unhappy with Hewson’s contributions and there was a general air of anxiety and unhappiness.

Robert Kirby – a music student friend of Drake’s – was drafted in. Boyd was sceptical about an untested and inexperienced musician. Drake’s assertiveness won over and the results are plain to see. Aside from the epic River Man – Kirby not confident enough to do it justice – the string articulation and beauty throughout the album added a huge amount. Five Leaves Left is considered one of the finest Folk albums of all-time. Drake’s voice is commanding and filled with wisdom, curiosity and graveness; the music is elegant, melancholic and sublime. All these ingredients, one would think, would connect and impress critics. That was not the case: Drake was disenchanted and the album was a commercial failure. Looking back; it seems songs like River Man, Three Hours; Way to Blue and Cello Song would stagger – even if they were not accompanied by other brilliant offerings. Maybe the album was too ahead of its time and unlike anything else; perhaps the lack of publicity and promotion meant people were unaware. During this time; Drake was in London – sofa-surfing and spending time on friends’ floors. Letters between Drake and his father revealed a scepticism and wariness – advising his son to continue his studies at Cambridge (Drake dropped out before graduating) and having that safety net. Drake had no intention of playing things safe and was determined to pursue his goals. By November, 1969, Drake opened for Fairport Convention at the Royal Festival Hall in London. He also played at Folk clubs in Birmingham and Hull. A lot of the Folk purists were not sure how to take to Drake – not ready for his brand of music. Folk singer Michael Chapman, reflecting on the Hull performance, assessed it thus:

“The folkies did not take to him; [they] wanted songs with choruses. They completely missed the point. He didn't say a word the entire evening. It was actually quite painful to watch. I don't know what the audience expected, I mean, they must have known they weren't going to get sea-shanties and sing-alongs at a Nick Drake gig!”[30]

It is dismaying reading about Five Leaves Left’s poor performance. The experience left Drake jaded and affected – he retreated from touring and, as such, the rare times he did perform were marred by long silences and songs played in different tunings. One would imagine a pastoral-sounding album would do well in the folk scene of the late-1960s. Determined not to see his second album suffer the same fate; Drake included drums and bass on Bryter Layter. More commercial, perhaps but, in my opinion, an album that contained the same sort of unique energy and beguiling songwriting as its predecessor. John Cale contributed on Northern Sky and Fly; Fairport Convention were involved – as was Beach Boys musicians Mike Kowalski and Ed Carter. In fact, Drake wanted to replicate the sounds and moods of Pet Sounds – lush strings, romantic orchestration and nuanced soundscapes. Accompanied on every song; there is so much depth and colour to be found. There was, around this time, a contrast between Nick Drake the artist and Nick Drake the person. In the studio, it seemed like inspiration was high and there was a definite stability and ambition. Away from the microphone, Drake was consuming more cannabis and reaching near-psychosis levels of mental unrest. He was cloistering himself away from people and becoming less communicative – his depression exacerbated by a lack of critical affection and touring issues. Relationships with Island Records were strained: Drake was/is an incredible artist but was not gaining the sales and reviews he had wished for. I guess psychological and personal issues conflated with music. There was no demand for a third album but Nick Drake made one: thank God he did because it was the remarkable, Pink Moon. If Bryter Layter was a reaction to Five Leave Left’s (appropriately) pastoral and relaxing sound: Pink Moon was an attempt to return to the reflective end of the spectrum – a stunningly sparse and simple album. Aside from the title track (a bit of piano in the chorus), Pink Moon’s songs was Nick Drake accompanied by acoustic guitar. I feel, of all Drake’s album, Pink Moon has been the most influential and affecting – you can hear its embers and nuances passed down to musicians today.

The twenty-eight minutes of music was created in two nights in 1971. The bleak sound of the record, perhaps, reflected the mental state of Nick Drake – although many claim he was in positive frame-of-mind when he was recording. The sub-half-hour running time was, I guess, about right for an album that manages to expend as much beauty and revelation as it does starkness and dark shadow. After Five Leaves Left; Drake expressed a desire for a fuller, more evocative sound: Pink Moon was the result of unhappiness of Bryter Layter. A contrary and restless artist: Pink Moon, strangely, is Nick Drake at his most comfortable and confident. The nakedness and uncomplicated nature of Pink Moon has resonated with artists of today. At the time, when the album was completed, Drake delivered it to Island Records – mythology claims he popped it to a receptionist and sloped off. Regardless of truth: the album was presented with no fanfare and hype. Drake, perhaps, because of his mental welfare and drug use, was unwilling to commit to promotional duties. The record company were dissatisfied – the album was given a small advert and not a lot of attention. Critics at the time were mixed, to be fair. The sense of Nick Drake being a 'mysterious artist'; someone who was not as revelatory and open as one would hope – there was frustration and a need for greater expression and variation. Those who ‘got’ the album realised shyly-songs like Things Behind the Sun were stunning insights into a unique soul. Pink Moon is an incredible title track that, alone, makes the album a twilight wonder. Free Ride – a rare three-and-a-bit-minute excursion – is a standout: Harvest Breed one of Drake most-famous numbers. We all know (or perhaps not) the aftermath of Pink Moon. Drake became more insular and frugal – receiving a paucity from Island Records; existing a very modest and un-musician-like existence. Friends would see Drake and a blank stare – someone who would look through them (rather than at them). That deepening depression foreshadowed an inevitable conclusion – one where the extraordinary musician would – maybe a sense of having burnt as hard as he could; unable to take the pressures of life – departed the world.

After his death, it took a while for the world to realise the genius and talent of Nick Drake. The classic example of someone unappreciated and overlooked in their lifetime – someone who did very little promotional work was always going to struggle. It was not until the mid-1980s – rather shockingly – Drake’s artistry and true potential was realised. R.E.M. and Robert Smith helped spread his music to audiences at the time. Today, there are musicians overt in their appreciation and love of Nick Drake. Consciously or not: so many of today’s musicians owe a debt of gratitude to the legend. I am not sure what it is about Drake that hits people so hard. The lack of airs and attitude: an artist who was dedicated to the business of making music. In a time where ego and marketing define music – as much as talent and the songs themselves – it is refreshing someone as unassuming and focused as Nick Drake has made an impact so many years after his death. One wonders, if he were alive today, he would be making music. Sure, his life was as synonymous with trouble and problems as it was success and accomplishment. The three studio albums Nick Drake left the world are a reminder of what a singular, exceptional artist he was. His influence will live through the decades; those classic songs – many of which are collected into the playlist at the bottom – are instant and timeless. For me, I am caught between Pink Moon and Five Leaves Left: the astonishing orchestral masterpieces of the latter; the bare and desolate beauty of the former. Whatever your connection to Nick Drake – assuming you ever have one – the forty-eighth anniversary of Five Leaves Left (just gone) should compel many to revisit a master of music. I will be spinning his incredible music tonight and remembering a human being, in all his modesty and mystique, who truly created some of the most…

BEAUTIFUL songs born to this world.

FEATURE: The British Live Music Scene: Improvements and Divisions

FEATURE:

 

The British Live Music Scene:

 

  

Improvements and Divisions

________

A report by Wish You Were Here....

presented some rather pleasing findings in relation to music tourism in the U.K. The report revealed the impact of music and tourism on the U.K. economy – at a local and national level. I shall start by quoting from the report:

“The number of people who enjoyed live music events in the UK rose by 12% in 2016 to 30.9 million – up from 27.7 million in 2015.

Live music fans generated £4 billion in direct and indirect spending in 2016 by flocking to concerts and festivals across the UK – a rise of 11% on the £3.7 billion they spent in 2015.
The total number of music tourists from the UK and abroad increased by 20% in 2016 to 12.5 million, of which 11.6 million were UK citizens visiting live music events in other parts of the UK.
Collating a vast amount of ticketing and other data from hundreds of venues, UK Music annually compiles this unrivalled insight into live music in every region of the UK and its impact on the local economy”.

The report includes an introduction by Culture Secretary Karen Bradley and will be officially launched at the House of Commons on Wednesday 12th July.

The key findings of the report include:
UK LIVE MUSIC IN NUMBERS 2016
- 30.9 million - total audience that attended live music events in the UK
- 3.9 million - total festival attendance in the UK
- 27 million - total concert attendance in the UK
- 18.4 million local residents attended local music events in the UK
UK MUSIC TOURISM IN NUMBERS 2016
- £4 billion total spend generated by music tourism in the UK
- 12.5 million music tourists in 2016
- £656 million box office spend on tickets by music tourists in 2016
- 40% of live music audiences are music tourists
- 47,445 full time jobs sustained by music tourism
- £850 average spend by overseas music tourists in the UK
- £150 average spend by domestic music tourists in the UK
SMALL MUSIC VENUES IN NUMBERS
- 6.2 million total audience at small music venues
- 1.67 million tourist visits to small venues
- £367 million total spend generated by music tourists visiting small venues

It seems concert attendance is higher than ever. Festivals are seeing rising numbers and the gig-going audience soared by 12% to 30.9 million in 2016 – that is according to UK Music. That has contributed £4 billion to the nation’s economy. It is heartening seeing those key figures/facts - 4 million people attended a festival in 2016; and that 823,000 people travelled to the UK from abroad specifically to watch live music, spending an average of £850 per visit – and, since 2011, the U.K. has seen a 76% rise in music tourism. I shall look at the flip-side of the report but, looking at those statistics, it seems there is much to celebrate. In terms of the word ‘tourist’, in this context, it is very apt. Britain is seeing a lot of international music fans come here and see some of our biggest festivals. Whilst nations like the U.S. have great festivals themselves: there is a definite appetite for the finest British festivals. Glastonbury has just passed and saw huge numbers flock there. We have Reading and Leeds approaching; many more festivals approaching – as the weather warms, so too will the live music economy. Maybe the improved weather has helped boost numbers – if it continues, that will attract more tourists over here. It is not only the major festivals enjoying boosted numbers: smaller, boutique festivals are enjoying increased numbers and sales.

PHOTO CREDIT: Ben Bentley

Maybe political events have caused a social rebellion. The tragedies at Grenfell and terrorist attacks have seen, as predicted, people come together and defiantly embrace life. Music festivals are the perfect place for the masses to unite: no shock festivals are seeing more bodies through the barriers. There are security fears but, for the most part, festivals are being stringently policed and monitored. It is good to see the raised threat of terrorism is not deterring music-hungry crowds. The fact two-fifths of those contributing to the coffers of live music are tourists is good news. One wonders, however, whether political decisions will impact on this prosperity. If Brexit does go through – it is a BIG if at the moment – and limitations are imposed on E.U. citizens coming to the U.K. – how damaging will that prove?! There is a lot of confusion and uncertainty surrounding restrictions and decrees. At the moment, before any legislation has been passed, some are wary of travelling through fear of persecution and reprisals. The murkier the Brexit waters get; the more obfuscated the music tourist community will become. I am buoyed by the figures released by Wish You Were Here’s annual report and wondering if this is influential…

DIGITAL MUSIC OVERTAKING PHYSICAL SALES:

One cannot look at the growth of the live music scene without talking about sales and the digitisation of music. It appears, for the first time, digital music streaming/purchases are overtaking physical formats. This trend looks set to continue. An article, written by FACT, explains it:

“Streaming revenue is to overtake physical music sales in the UK, according to figures released by the British Phonographic Industry (BPI).

Streaming accounted for 30% of overall label revenues in 2016, compared to 32% for physical sales. According to the BPI, the rate of growth means that streaming is expected to overtake physical in 2017.

According to the BPI’s report, 11% of the UK’s adult population were subscribed to a service such as Apple Music or Spotify at the end of 2016.

The figures also revealed that overall revenue (streaming, physical and download sales, performance rights and licensed music) rose by 5.1%. The £926 million total is the largest in five years.

However, the BPI was cautious about the challenges the industry still faces, including piracy and the difference in revenue generated for artists and labels from services such as YouTube.

BPI chief executive Geoff Taylor also warned of the uncertainties surrounding Brexit, arguing that UK artists needed to retain access to EU markets after the UK’s withdrawal.

“Britain’s world-leading music sector has the potential for sustained growth in the years ahead, but this exciting future can only be realised if government makes creative businesses a priority post-Brexit,” he said.

“It means making sure that UK artists can tour freely in EU markets and that UK businesses can access the best talent.”

The boom in streaming and rise in overall revenue for the UK music industry mirrors that of the US, where streaming accounted for a massive 51% of all revenue in 2016”.

Bringing in another piece - https://www.pwc.com/gx/en/industries/entertainment-media/outlook/segment-insights/music.html - and more exposition is provided:

“Global music industry revenue grows with consumer preference shifting towards subscription-based, rental services

Global music industry revenue is expected to grow at about 3.5% CAGR thru 2021, with growth driven by both the recorded music and the live music sectors. The most significant trend witnessed however, has to be the marked consumer shift away from purchasing and owning recorded music to showing an increasing preference for subscription-based, music-rental services. The five leading markets also all headed in the same direction.

Digital recorded music revenue will increase at about the same rate that physical recorded music revenue declines

Physical recorded music revenue continues to decline, with even long-stalwart German music fans now turning their backs on CDs in number, as consumers look to digital music to provide their audio entertainment. However, this decline in physical recorded music will be more than compensated for by revenue growth in the digital recorded music segment, driven by consumer uptake of music streaming services”.

I am a bit torn by these findings. On the one hand, it is hard seeing formats like C.D. and vinyl decline – by comparison – and the physical side of music. Maybe pricing and limited availability is seeing more people turn to digital methods. More people are listening to music on the move: they want to access their tunes through their Smartphones and laptops. Another reason digital music is starting to grab the majority marketshare is the fact many can get it for free. Spotify, YouTube and BandCamp are free; many can subscribe to Spotify and not pay anything – making is more attractive than buying a C.D. or vinyl. That said, the greater availability of music – through digital methods – means better education. If people are not able to afford music, or find they cannot find everything they want at the local record shop, it is a good thing one has options like Spotify. I shall talk more about this service in relation to small venues’ future but, for now, it appears there is a correlation between festivals’ growing numbers and the popularity of digital streaming.

The Internet opens one to the full majesty and scope of music. Once we have that degree of access: it means we discover more artists and, as such, are more inclined to go to festivals – knowing who is playing and what their music sounds like. One might argue there are issues with streaming and remunerating artists – I shall come to look at the issue of restitution and checks-and-balances later. We should, as a music community, be pleased festivals are expanding and flourishing. I wonder whether streaming sites are contributing to the profitability of the biggest festivals. We all are aware of the headline acts but many are attending festivals because of the minor acts – many of whom they would only come into contact with via streaming sites. Even though there are ethical discussions around streaming services; one cannot quibble with the fact it is putting more music into the masses’ hands.

For many, who cannot get to a new band’s gigs, they will often go onto sites like SoundCloud and Spotify and find their music. A few of the issues with physical formats comes down to availability, cost and choice. I have often gone into a record store, looking for a particular album, and find myself empty-handed. High-street stores are struggling with rent prices: meaning stores are smaller and more compact. Many shops have to stock records that fit into the ethos and ‘personality’ of a town and, because of that, it is only the biggest stores that provide a pragmatic choice of music. When you get to these shops; one finds them crowded and the prices a little unreasonable. A study has shown how vinyl sales are increasing at the moment. This is wonderful but, if one actually looks at the price of an L.P., it can be quite galling. C.D.s are a more affordable option but are still putting a lot of people off. Because of this, many are using streaming services and getting as much music as they can – often without having to pay much. It is the availability and selection of music one gets – through digital stores – that attracts so many. I can get a brand-new album without having to pay too much (I subscribe to Spotify) and can find any classic album without having to traipse around and wait. The more we have at our fingertips; the more curious we will be. I have found so many great new artists through the Internet. Many people are discovering music they would not usually know about. It is this serendipity that is seeing, not only artists find success – and get added to festival bills – but drawing more people in. Live music is burgeoning in one area but, in another, there are real cracks and doubts forming.

SMALL VENUES IN DECLINE?

The money being spent on small venues is becoming less and less - those with a capacity of less than 1,500 are in real danger it seems. The fact, in some areas, we are seeing fewer venues close does not reflect a national issue. London’s Astoria and The Boardwalk in Sheffield are two venues that have closed their doors in recent years. I wonder why there is such an explosion for festivals – contrasted against the shaky nature of the smaller venues. Perhaps it is the sort of acts who play festivals that are drawing people in. Although, as most festivals are annual; there is going to be that need and sense of release - waiting a year for something extraordinary to come along. Small venues are open most nights and it can be hard constantly pulling people in. We know we’re becoming a more ‘indoor’ society. Folk are staying in more and not enjoying music venues as much as they once did. A lot of artists are scaling-back European tours because (many) have to apply for visas and £1,000 ‘carnet’ documents – temporary import/export agreements – so they can transport equipment across borders. Brexit might mean fewer European artists are coming to play small venues around the U.K.

PHOTO CREDIT: Sandie Levent

A single visa would limit the issue but, until we know about the details of Brexit; what will be the fate of our small venues? There is a fear many acts are willing to play these spaces but the public is not quite as eager. Perhaps there is less disposable income – the cost of living is tightening their budgets – but, more likely, people are getting their new music from streaming sites. It was the case, a while back, before these sites, people would go to gigs to discover new artists. Rather than see a new band/artist play; go and find their music online: now, people are discovering them online and, in a lot of cases, not feeling it necessary to see them perform. For a lot of musicians; the smaller venues are their way of getting music heard – it compromises the future of live music is we do not provide it necessary loyalty and love.

It is hard to take the news of festival boom with anything other than caution and pragmatism. Right now, there are a lot more tourists attending festivals and embracing live music. Events like Glastonbury – Reading and Leeds coming up – have brought the crowds together and shown there are few nations that put on a music festival quite like us. It is clear the summer festivals are going to bring in people from all around. This is good news because, in past years, we have seen smaller festivals end – through lack of demand and financing. This turnaround could revive some festivals and create new ones. Glastonbury is on a break next year: there is a fantastic opportunity to fill the void and provide the June gig-goers a great alternative. There is another occurrence that threatens to undermine the industrious and elevating festival business account: the unsure fate of the small venues. In a way, in the middle of these disparate corners of music is the battle between digital music and a physical release.

Streaming is overtaking physical sales: we are entering an age where our buying habits have altered. Finance and affordability are seeing fewer people regularly attending gigs and buy C.D.s/vinyl. Divisions are occurring but there is remedy and a way to move forward. More money needs to be set aside for our smaller venues. Ensuring their sustainability is a paramount concern. Without them, there is a risk the fabric of live music will crumble. It is all well dedicating a budget to small venues but can we easily regulate the way people but their music?! So many are downloading/streaming songs for free. I read a report that underlined how many people choose to get their music for free – keep them on hard drives and websites for months/years after purchase. There is an ethical argument: should we all pay for music or not? But, in the long-term, it will hit the fortunes of new artists. Many are getting fewer gig requests and struggling to survive (with venues closing down). They need the revenue from sales. If they are denied this then that will have awful consequences for music. I am hopeful we can redress the imbalance but, as recent surveys have shown…

IT is certainly not black-and-white.

PHOTOS: Unsplash

FEATURE: Dizzee Rascal: From the Boy in da Corner to the Man in the Spotlight

FEATURE:

 

Dizzee Rascal:

  

From the Boy in da Corner to the Man in the Spotlight

________

I can scarcely believe it has been fourteen years since…

Dizzee Rascal burst onto the scene with his stunning debut, Boy in da Corner. I have written about that previously – so shall not go into too much detail regarding that record. Earlier this year; I questioning where Dizzee had gone – not having produced an album for a few years. Low and behold (no influence on my part) he is back and, on the basis of the first couple of tracks, Raskit is going to be an emphatic return to form. Wot U Gonna Do? is the second cut to be taken from Raskit – out in a couple of weeks. It is a song that takes me back to the earliest days for the Bow maestro. Whilst the circumstances have changed since Boy in da Corner – Dizzee is thirty-two now; he is no longer the struggling kid in the manor; concerns have changed – there is no maturity and degradation when it comes to the lyrics.  One of the reasons Boy in da Corner is one of my favourite albums ever – in the top-twenty, at least – is because of the blend of amazing compositions (different genres, sounds and effects put together in a head-spinning mix) and tight, on-point lyrics. Dizzee, even as a teenager, showed a peerless and hugely intelligent approach to wordplay and lyrics. A flawless album that addressed impure women and the wars unfolding in estates; the social dislocation of the working-class and the sort of stresses and strife a typical East London boy experiences. Showtime was a worthy follow-up – if not quite as sharp – whereas Maths + English contained one of his finest hits: the frightening and intense, Sirens. I am a huge fan of Dizzee but felt he has never surpassed the splendour and unexpectedness of his debut. After Maths + English (2007); I feel the quality took a dramatic dip. By the time of The Fifth; there were too many collaborations and too many fillers. I guess the pressure and expectation foisted onto the shoulders of Dizzee was a lot to take.

I am pleased Raskit is forthcoming and, from what I have heard so far, it seems like it is the London rapper at his finest. Space, in terms of composition, certainly differs from his earlier work. Some critics felt the backdrop was not sufficiently strong to support such (typically) fiery lyrics. The four years since The Fifth has not dampened Dizzee’s lyrical gifts. In fact, it seems like he has come on strides since his previous album. The reason The Fifth gained mediocre reception was the fact too many people were involved. It got to the stage where Dizzee was hooking up with people because he had that pull and cache. His lyrics looked at estates and problems of the streets: too many songs focused on petty cussing and juvenile spats. Maybe the growing attention and celebrity meant singing about the ends; the gang battles and struggle of modern-day Britain was not a possibility. It would seem inauthentic and forced: in the same way The Streets could not talk about these things following A Grand Don’t Come for Free. I wondered whether Dizzee would be back this year: given the social discontent and political issues in the country – it seems like a perfect time for him to launch a fresh assault. If Wot U Gonna Do? is more a jab at washed-up peers and faded stars – what are they going to do when things don’t work out or the attention slips – I am optimistic we will see a lot of relevant and scathing commentary from Dizzee. I have bemoaned the lack of Urban explosion and reaction considering the time we are having at the moment. Perhaps artists are readying themselves for the attack but, over the last few months, it has been a little quiet, to say the least. The nation is divided and people and unsure where we are heading right now. Music has a reactive role and is a great way to channel those frustrations and questions into something meaningful and dramatic. I hope Raskit, in a way, returns to Boy in da Corner: offering some mature insight but possessed of that same spark that brought a young Dylan Mills to the public parapet fourteen years ago.

There is a lot of anger and uncertainty at the moment: musicians have a duty to, at least, try to translate that into something constructive and propulsive. Back in 2003, Dizzee Rascal perfectly articulated the reality and depth of the young, working-class existence – where people were overlooked by the government, for the most part. One can argue that problem is as evident fourteen years down the line. Dizzee lost a bit of his touch in the years following Boy in da Corner but that was going to happen – he could not sustain the same electricity and relevance. This is not a chance to promote an album and say it is going to define this year. I think it will, in a lot of ways, but know Dizzee Rascal’s ‘return’ – if you can call a four-year gap THAT long to consider it a departure – is as necessary and needed as anything else. Wot U Gonna Do? sounds like Dizzee as fresh and hungry as he did all those years ago. Against the tide and continuation of upheaval and unpredictability this year – the best and brightest Urban artists out there have the opportunity to lead the country; in a way the elected leaders cannot. I will be watching closely when Raskit is unveiled. Dizzee Rascal, himself, explained the album in these terms:

“The idea of trying to be my 17-year-old self again just because everyone thinks grime’s landed in their lap this week didn’t satisfy me…I wanted to use what I’ve learned to make the best rap album I could, with no hands in the air moments, just using as much English slang as I could over the best beats I could find”.

Raskit is out July 21 via Dirtee Stank Recordings/Island Records. I urge everyone snap it up and watch the Godfather of Grime show the competition how it is done. Sit back, put the record on and…

WATCH the sparks fly.

RASKIT UK TOUR

Mon 02 Oct Liverpool O2 Academy*
Tue 03 Oct Glasgow O2 Academy*
Thu 05 Oct Newcastle O2 Academy*
Fri 06 Oct Sheffield O2 Academy*
Sat 07 Oct Leeds O2 Academy*
Mon 09 Oct Norwich, Uea
Thu 12 Oct London O2 Academy Brixton*
Fri 13 Oct Cambridge Corn Exchange
Sat 14 Oct Manchester Academy
Mon 16 Oct Bristol O2 Academy*
Tue 17 Oct Nottingham Rock City
Thu 19 Oct Southend Cliffs Pavilion
Fri 20 Oct Birmingham O2 Academy*
Sat 21 Oct Brighton Dome