FEATURE: Paper Priests: Why Drug-Related Deaths in Music Are a Wake-Up Call

FEATURE:

 

Paper Priests:

ALL PHOTOS (unless stated otherwise): Unsplash

Why Drug-Related Deaths in Music Are a Wake-Up Call

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I’LL admit...this is not entirely festive or…

especially uplifting but, considering we all have enough Christmas-themed music and food in our bloodstream; I wanted to end my scribbling day by looking at something a bit more sobering and alarming. We have all read about the toll drugs have taken over the years. Drugs and music have had an uncomfortable association for decades. You would have to go back to the start of the twentieth-century to find any music that, in some way, has been clean and drug-free. By that, I mean there have been no artists/genres associated with drug-taking, We all adore and love artists like The Beatles and The Doors but, ever since the 1960s; some of our most-loved and institutionalised musicians have partaken in drug-taking. I am not saying that is a good thing but it is impossible to think of a band like The Beatles without L.S.D., cannabis and, well…who-knows-what coming to mind! So many of the biggest artists from music’s history have at least experimented with drugs. Sure; there are many who have remained clean and free from temptation – unwilling to wander the dirty back-alleys of abuse and recreational activities. Some artists claim drugs have helped unlock a part of their brain that leads to creativity and opens their minds: others claimed (certain drugs) ruined them and cut their musical lives short. In any case: one can never see any validity or excuse for taking drugs or elevating them to the role of Saviour and God.

Whatever an artist can do on drugs they can do clean – the same goes for alcohol, too! Unfortunately, in 2017, we are no closer to getting a grip on the drug situation. Whilst we do not have the flagrant and unabashed promotion of weed and blissed-out free-love (like we saw in the 1960s); that does not mean, behind doors and in bedrooms; artists are creating music without the ‘influence’ of drugs. This year, at least two high-profile musicians have been taken from us because of drugs. Chris Cornell was found hanged following a Soundgarden gig. The official toxicology report found lorazepam (Ativan) and headache medication. It is the former, an anti-anxiety medication, that many felt contributed to Cornell’s death. The coroner found drugs did not contribute to his suicide but his wife, and those close to Cornell, noticed a change in the fifty-two-year-old days before his death. He was slightly off and not himself; Cornell was heard slurring during the band’s final performance – clearly, there were drugs in his system hours before his death. Whether increased anxiety and stress meant he upped his dose; whether he was self-medicating to mask his depression – who can claim his death was free from any drug toxicity?! I know the drugs we are referring to here are prescribed but that brings an issue of anxiety and depression.

IN THIS PHOTO: Chris Cornell/PHOTO CREDIT: Getty Images

Lil Peep is another big artist who was claimed this year. He put his first mixtape out in 2015 and, later that year, he released two more – Crybaby and Hellboy. The openness with which Lil Peep connected with fans meant emotional nakedness and frankness were common currency. When I heard about his death – the fact he was barely in his twenties – my first reaction was one of shock and surprise. Such a promising talent seemingly wasted his life and needlessly took a huge gamble. Reading stories, articles and testimony made me think less about personal culpability and looked at a reckless and unregulated industry that let something like this happen. Naturally, we cannot safeguard and protect everyone but I wonder whether certain genres are guilty of glamorising and normalising drugs - and substance abuse., too That may seem naïve to many – Hip-Hop and Rap have often been linked with excessive drug-taking and addiction – but is it something that needs greater scrutiny given the circumstances surrounding Lil Peep's death? I will give more thoughts in a bit but I wanted to bring in an article The Guardian published in November:

“This permissiveness has claimed a talented victim in Lil Peep, a New York-born 21-year-old rapper who died this week of a suspected overdose. On his Instagram in the hours leading up to his death, he said he was taking magic mushrooms and “honey” (a kind of super-concentrated version of marijuana, turned into a wax); another picture sees him with an unidentified substance broken into pieces on his tongue. He is also filmed dropping bars of Xanax, the anxiety medication that has become perhaps the most fashionable drug in 2017’s rap scene, into his mouth”.

IN THIS PHOTO: Lil Peep/PHOTO CREDIT: Getty Images

That use of ‘honey’ gets me thinking about drugs as bling and accessory. Not all rappers and Hip-Hop stars fall into my condemnation but it seems the braggadocio associated with taking the ‘coolest’, latest drugs have led to needless loss of life. Whether it is a way of numbing hidden pains or gaining a twisted degree of acceptance from your peers – it is a madness and fuc*ed mindset that is permeating the bones and rotting the flesh of Hip-Hop. It is neither cool nor wise taking drugs and, whilst I sound like a preaching parent; how many deaths does it take to send a clear signal out?! The thing is: the human cost of drugs makes no bigger impression on those who take drugs as gun-related deaths do to those who own guns. There is a numbness and blind-spot that places the ability to get high above protecting life. That might be over-simplistic but is this a new phenomenon? Are these ‘designer drugs’ something that has come into music over the last few years? The same Guardian article goes into a bit more historical detail:

“Around the turn of the century, rappers increasingly started dabbling in designer drugs, too, particularly ecstasy. Eminem recorded two songs from The Slim Shady LP while high on it, while mentor Dr Dre suggested on Bad Intentions, “take an X pill, how the sex feel?” A little-noted detail is that the civic euphoria of Jay-Z’s Empire State of Mind is powered by the drug: “MDMA got you feeling like a champion / The city never sleeps, better slip you an Ambien”. Kanye West sees “a whole party melting like Dali” after dropping molly, rap’s now-favoured name for ecstasy (also namechecked by the likes of Tyga, Rick Ross, Rihanna and, infamously, Miley Cyrus). In their songs at least, there are no comedowns, only the dizzy, meaningless highs...

 …But at the same time, prescription drug addiction took hold of the US – last year, 91 people a day died of opioid overdoses. Thanks to a robust marketing campaign, sales of the opioid painkiller OxyContin grew from $48m (£36.5m) in 1996 to $1.1bn in 2000; in 2012, 282m prescriptions were made for it – a bottle for every American. Its popularity has tailed off slightly, but other prescription drugs – often used recreationally – have joined it, arguably in part thanks to the inadvertent marketing by rappers, who have swapped uppers for downers”.

It seems, in the years since the century’s turn, the need to level and mellow has, in a small way, substitute the desire to get high. That, again, might seem like a binary explanation but I wonder how much of the drug culture revolves around credibility and street-savviness; how much is tied to psychological issues – and whether history and traditions mean drugs are a natural part of an artist’s life. This year, given the death of Lil Peep; a fellow ‘Lil’ was foolhardy enough to rhapsodise drugs. He took to social media and proclaimed Xanax is “the new wave”. Not only was that declaration shared online and seen by thousands of people – it stupidly canonised a drug that is used to treat anxiety. There is nothing wanted or fun when it comes to anxiety. There are young and impressionable people who saw that tweet and would have reacted to it.

If they see a popular rapper highlight the joys of a certain drug/medication; how long before people are trying to procure Xanax and take it without any thought for their wellbeing? There are those who feel dislocated and depressed who need very little encouragement before they embark down the path of drugs – if their favourite artist says it is a good way to love; why would they not follow the same assumption?! It is all well and good judging someone like Lil Pump Lil Peep but they are both very young – Lil Pump is seventeen. Those charged with looking after the artists – the record labels and studio heads – appear more like pimps than priests. They are more concerned, when idiotic tweets come out, whether their star has enough medication and supply to get them by – or get them high. Is there any part of the marketing strategy that places concern on the artist themselves?! Do these men call someone like Lil Pump and ask after their health? It seems like there is little positive enforcement from those around some of the upcoming rappers. Maybe the older kings have avoided the worst effects of drugs and managed to maintain a career in spite of its effects. Artists like Snoop Dog have been boasting about weed-smoking and drug-taking for years. He is not the only one responsible: there is such a casual approach to drugs it seems like it is part of the fabric.

A lot of Rap/Hip-Hop artists live a pure and clean life – not wanting to associate with the worst elements of the genre – but there are too many prominent stars that are projecting a vile culture that needs to be stamped out. There have been other deaths in music related to drugs but, this year, the demise of Lil Peep has been the starkest warning. This sense of belonging and fashion; almost school-like where people are trying to fit into cliques – it is leading astray vulnerable people who need guidance and care rather than drugs and destruction. I realise other genres and artists are caught up with drugs but there is nothing as rampant and visible as the drug culture in Rap. This extend to Hip-Hop and is largely a male-perpetrated ill – few women are seen in the music news after overdosing. That is not a surprise as, along with the glamorisation of drugs, there is that never-ending sexism, materialism and violence. These sides have never gone away and, in many ways, drugs are all part of that persona. To many people; the death of a young rapper is not a big deal but it is worrying to see such a nonchalant attitude come out. How many other deaths will it take before there is greater strictness concerning drugs? We cannot regulate social media every hour of the day but tweets that promote drug-taking should be met with swifter force and punishment.

The year has seen suicides of artists such as Chester Bennington and Chris Cornell: there is so much depression and anxiety in the music industry - that is only being realised when we hear about the deaths – and self-harm – of some big names. Whilst I admit a lot of the drug-taking we see in Hip-Hop/Rap is an attempt to ‘fit in’ and ‘belong’: can we say deaths of artists like Lil Peep were because of that? His overdose followed a rather worrying that, for the final time, brings me back to that Guardian article:

“But perhaps these rappers’ ennui goes wider than mere Xanax, and into a numbing effect of our wider culture. One of the most chilling aspects to Lil Peep’s death is that his cries for help were so public, and yet went so unanswered – perhaps as a result of the paradoxically distancing effect of social media. He wrote on Instagram hours before he died: “I need help but not when I have my pills but that’s temporary one day maybe I won’t die young and I’ll be happy?” But we’re inured to see Instagram as performative, not real, and its inherently aspirational vibe along with the sheer visual noise of its scrolling feed drowns out individual torment. That Spotify named its playlist Tear Drop, selling back these artists’ real pain, doesn’t help”.

IN THIS PHOTO: Lil Pump/PHOTO CREDIT: Instagram

There are other factors to consider when looking at drug deaths – whether social media is creating greater distance and less empathy – and if artists like Lil Pump need to take greater responsibility and show better judgement when taking to social media. The death of Lil Peep is something that should not only shock the worlds of Hip-Hop and Rap but create a ripple through every genre of music. Those who digest the daily confessions and happenings of stars like Lil Peep probably did see his death coming but the fact he felt medication and drugs were the only options – a lack of societal support and humanity from those around him – exposed a putrid wound that needs cleansing and bandaging. It is clear there needs to be change and a more human, consistent contact between labels and their artists. Dispense with the drugs-are-cool assumption and start treating artists like human beings.

Maybe – because the issue of drugs and fashionability – have been present for decades; it is impossible to make too much headway and effect any real change. The worry is the problem will continue and it does not matter is there are a few deaths every year – so long as artists have a ready supply to get high (or low, as it appears) on. The New Year should see music write a list of resolutions: among them should be greater awareness of drugs in music – not just Rap – and what a toll it is having. It extends to social media and the way it is used; how artists feel they can open up without getting any help…it is troubling to see. I hope something good comes out of the deaths of musicians like Lil Peep and Chris Cornell (although the circumstances of his death are slightly deferent) raises questions and helps lessen a problem that is causing…

A toxic and disturbing stink.

FEATURE: Risk Strategy: Is Modern Music Lacking Gamble and Evolution?

FEATURE:

 

Risk Strategy:

PHOTOS (unless stated otherwise): Unsplash

Is Modern Music Lacking Gamble and Evolution?

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I might squeeze another article out before the day is done…

PHOTO CREDIT: Getty Images

but that phrase – with the last three words – makes me think of an artist who, in a fairly simple manner, took big strides and risks with his music (Day Is Done is from Nick Drake's album, Five Leaves Left). I have put quite a shift in this year - but I am not willing to put the laptop to bed and end things here! Maybe my productivity signals a lack of social and sexual options but it is actually a matter of curiosity and intrigue. I am always looking to examine crannies and avenues of music few others explore. The album above, from Captain Beefheart, is hardly a record you can accuse of being predictable, formulaic and average. It is a rather pioneering, exciting and unusual album that, even by his standards, explores new ground. I have been looking at the records critics deem the very finest of 2017. Aside from masterworks by Thundercat (Drunk) and Kamasi Washington (Harmony of Difference) – the best of the rest are exceptional but albums you could probably expect in any other year. I am casting my mind back to a time when a record arrived that really changed the world. It may be a lot to ask of any artist – making something that differs from anything around – but I feel the times are changing. The political situation, here and around the world, is tense and there are more changes and shifts than we have seen in a long time.

My favourite albums of the year have been defined by their solidity and consistent – rather than any true originality and evolution. The music, in all cases, is incredible but I could not put my hand on heart and say these are any better/different to previous years. Modern music is fantastic and always inspiring but I wonder whether we need a boost or injection that compels other artists to follow suit. I listen to an album like Harmony of Difference and love the way it changes perceptions of Jazz and brings other genres into the mix. It is an expansive and experimental album that engages the senses and activates every part of the self. The same can be said of other L.P.s but this year has not seen too many breakaway recordings. Maybe that is fine, I guess – if there is a batch of world-class albums that what does it matter if they are not especially mind-blowing?! I feel the issue still lies with the mainstream and how labels/radio stations want their music. The finest stations out there prefer a sea with different-coloured fish and interesting coral: the most-popular options, mind, prefer their fish limpid, grey and easy to catch. I have been looking back at my vinyl collection and what constitutes a genuinely pioneering record. The albums I clasped for were Paul’s Boutique (Beastie Boys), Revolver (The Beatles) and Blue (Joni Mitchell).

IN THIS PHOTO: The cover to Beastie Boys' Paul's Boutique/PHOTO CREDIT: Getty Images

The latter is renowned for its exceptional songwriting and incredible vocals. It is a personal and immersive collection of songs that gets into the mind and remains with you. Perhaps it is the Beastie Boys’ landmark record that stands out. Perhaps it is harder to replicate the sample-heavy album in today’s climate. Back then (in the mid-1980s), few artists were trying anything as daring and challenging as that. Hip-Hop contemporaries like De La Soul and Public Enemy were equally ambitions when it came to samples and the way they delivered their messages. Despite the fact every act was trying to convey something that balanced original and commercial; they brought in a range of sounds and shook up the music scene. Say what you want about the 1980s but artists from that time – the best of them, anyway – pushed the envelope and did not follow arbitrary rules. The sounds that came out of the time are responsible for what we hear now. The same can be said of the 1990s. Then, in that wonderful decade; we witnessed incredible revelations and music-changing albums. I feel the issue around royalties and expense are putting artists off chasing borrowed sounds – there have been artists that have taken the chance and gone for it. I wonder, then, if limitations and rigid statuses are putting off musicians from going after samples?!

That is not the only way musicians can genuinely shock the music world. The finest albums of 2017 have seen expectations subverted and genres spliced; so many unexpected moments burst from the speakers. I loved the latest releases from Lorde, Thundercat and Laura Marling. I listen to the albums that released and never feel like I’ll play them decades from now. I guess time is the only way I can be sure but there is something about classic albums that hits you upon the first listen. Aside from the Jazz endeavours of Washington and some incredible Hip-Hop records this year – I have not been moved or had my thoughts altered in any way. In order to subvert expectation and remain in the mindset decades down the line, I feel something monumental needs to happen. That would involve risks and, if you have an established career; is that a chance too big to take?! Modern music is a busy and bustling environment so it is hard for artists to really make a statement and alter the senses. Back in the 1980s, when albums like Paul’s Boutique came out; critics were not expecting anything quite like that – it struggled to gain positive reviews and only got recognised as a work of genius years down the line. Can any modern artist afford to take a leap like that and risk losing critical appeal? That would be a huge blow to the career and could ostracise them from their fans.  

I am not suggesting anything as paradigm shifting as a sample-fused exploration that ranks among the greatest albums of all time. The truth is that, when you look at the list of best albums ever – as deemed by a critical wisdom of crowds – and the most-recent entry might be in the early-2000s. There are few albums (on the list) that come after the end of the 1990s. One cannot say it is a matter of tastes changing and the industry expecting certain sounds from artists. There is that issue of rebelling against expectations and doing something nobody else is. Is it easy, when we have covered so much musical ground, to craft an album that does not sound like something else?! Perhaps we have come too far and created too much music; there are so many new artists it can be difficult distinguishing the promising from the plain. I am seeing sparks and potential in every genre and it might be easy for me to sit here and judge others – without contributing anything to recorded music myself! I feel there are musicians that produce engrossing, year-defining music but there are few following suit. The biggest takeaway from each year is a sense of hit-and-miss. It has been a good decade or so since a record has come along and really blown the socks off.

In a couple of days; I will write a piece that pitches a yet-to-be-recorded record – a sort of fantasy line-up in terms of sounds and songs. There is a collective yearning for something out-of-the-blue and mesmeric to shake things up. I cannot quibble with the quality and variation in music – especially when it comes to new artists – but there are few pioneers that are changing the structure of music and making bids for the history books. The most impressive band I have heard in recent years is Melbourne’s King Gizzard & The Wizard Lizard. I have mentioned the guys a lot this year and featured them in various articles. A new song, The Last Oasis, has just been released and it follows hotly from a couple of other new songs. The band is promising a new album before the end of the year – having released four others so far in 2017! I do not know what form the album will take but the fact they are so prolific is a fountain of refresh in an industry where it can take artists years between releases. That is not to say the Australian band lack focus and quality. They have full control over the substance and consistency. From an infinite loop of a record to one with four songs of equal length; experimenting with micro-tunings and created new Progressive-Rock genius – each record sees the guys change and do something completely different.

IN THIS PHOTO: The cover to King Gizzard & The Lizard Wizard's album, Polygondwanaland/PHOTO CREDIT: Getty Images

Polygondwanaland, the band’s current album (and fourth of the year), was released free-of-charge. The band said fans can sell the record and bootleg it – they even made the master-tapes available to the public. Not only are King Gizzard & The Wizard Lizard switching genres and styles: they are reinventing marketing, release and promotion. This is the kind of risk and reaction I am looking for! There are few other artists doing things like them so I hope, next year, more artists will look at the way they record and release music. It is not gimmicky or novel: bands who challenge the way we perceive and share music should be applauded. Maybe it is an end-of-year fatigue but I have that desire for explosion and glory. There are artists out there who are capable of creating decade-defining albums but I wonder whether commercial pressure and fear of isolation are limiting their horizons. Maybe it is cost and logistics holding back some of their ambition and vision. Whatever it is; there are a lot of people yearning for a change. Maybe something monumental will not arrive in 2018 but there is nothing to suggest a once-in-a-lifetime album could not come our way. I have faith there is potential out there but it is the case those artists (who can unleash something majestic) need to…

TAKE that leap forward.

FEATURE: My Britain: The Fume of Sighs: An Alternative (Musical) Christmas Message

FEATURE:

 

My Britain:

ALL PHOTOS: Unsplash

The Fume of Sighs: An Alternative (Musical) Christmas Message

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THE last couple of pieces today…

will look at some things that have been on my mind for a while now. Riding high into the spotlight is the way the country has been divided this year. This is the equivalent of my (Alternative) Christmas Message – with a musical flavour and component. The pieces I will write before the end of this year will round up the best of the year; the videos and new albums; maybe a piece about the most disappointing records – a few other things sprinkled in. I have been looking back at the year and noting the splits and cracks that are running through the spine of the land. I think music has made an impact and helped change things but, even here, there are separations and gulfs that need to be counteracted and addressed in 2018. If one looks at the political fabric of the U.K., we can see so much disagreement and argument. People cannot get on the same side and the General Election result has shown has divided we are as people. I feel slightly aggrieved as I voted for Labour and wanted us to remain in the E.U. That combination of votes is common in people my age and situation – the younger working-class- and we have had to rally against the Tory-voting public who voted Leave. The ‘majority’ meant Labour were in with a shout of gaining power but, rather than that sensible option materialising; we have seen the Conservatives on shaky ground; the P.M. has lost confidence and her cabinet have gone through changes and shifts – including unceremonious and embarrassing exits.

The elected elite who have been charged with running the country have made questionable decisions and shown they have little idea of what the people want and how to keep Britain dignified and progressive. The smoke is clearing and, whatever arguments are levied, you cannot help notice the people of this country do not want to be part of the world. Call it ‘xenophobia’, ‘racism’ or ‘stubbornness’ – it shows we are not as evolved and loving as we make out. It is a sticky political situation – so I shall not wade into the swamp wearing good trainers – but I feel we have made a real mess of things. I am not saying a clear Labour win would radically solve the issues we have with the NHS, Europe and the U.S. The Americans have hardly had a smooth year so it seems two of the most powerful and influential nations on the planet have set a hugely terrible example. My wish for 2018 is that the musical landscape does not follow the same one as the political. One of my biggest concerns is how centralised and nationalised music is becoming. The divisionism we are seeing between the public and areas of the nation is starting to seep into music. The more influence streaming services exult; the more, I feel, music is losing its tangential qualities.

Music is at its best and most inclusive when sentient and broad-minded. I think too much of our music revolves around London: everything gravitates towards the capital and artists elsewhere tend to get a minor acclaim. I am writing a piece tomorrow that looks at Manchester and how the city, next year, will gain more ground and respect (that is my hope). My dream is we adopt a more structured and disciplined musical cabinet that employs those who put parity and quality above all else. Although we do not have a bespoke musical government; one gets the impression that would be a good way of solving so many issues. One could have someone (a minister) designated to look after venues and their health; others who involve international music and make it easy for artists overseas to play in Britain; others who preserve older music and bring it to new generations – someone who looks at sexism and racism in the industry; is charged with strictly regulating the industry and it operates. If our own government is making a hash of things – who thought privately-educated toffs would be disconnected from the voice of the masses?! – it seems music has a big role to play as we head into 2018. The year needs to start better than this one ended. We have seen the Grenfell tragedy and the immense loss of life; how it could have been prevented and the ineffectual reaction by our government.

There has been terrorism and domestic issues; weakening foreign ties and a creaky, ill-advised move away from Europe – if we ever get around to leaving the European Union. Music has not been exculpated from problems and responsibility. We have seen more and more accusations feed into the entertainment industry: who knows how many musical figures will be accused and named next year? Another problem I have seen is how few national and international artists have been brought into a rather London-centric scene. I know I am guilty of promulgating London artists but they are the majority – those we have pushed into the forefront and want exposure. There is that assumption people will not take you seriously if you are from outside London. I am worried artists are having to fight hard to get recognition and being overlooked. We need to start broadening the scope and looking at the extent of great music in the U.K. Naturally, for a nation that seems intent on isolating itself (always good for an island!); should our music industry incubate and exclude those on the outside? I know we have foreign artists play here but I have been looking at the mainstream media and seeing more and more British artists proffered. It is always good promoting the home-grown but that should not come at the expense of international musicians.

There are great artists in the U.S. and Canada; Australia is always fertile whilst lesser-known countries for music – Sweden, Germany and France among them – do not get a sniff. I have mooted the idea of a musical government – should this extend to foreign sounds? The same way we have various departments looking after domestic and international quarters; should we have a mirrored musical cabinet that has an assigned Foreign Minister? I feel our media needs to be more conscious of the great worldwide scene and assimilate that into the British saucepan. The only way our own music industry is going to grow, inspire and compel on the international stage is if we welcome those in from other countries. Venues and fans, of course, have a welcoming bosom but the media is more reluctant when it comes to foreign musicians. The reason my five-part series of acts to watch in 2018 was British-heavy was the fact the national media have taken a similar approach – their rundown of artists to look out for has fewer international names than you’d hope. If P.M. Theresa May has been banging on about bringing back our blue passports and promoting the ‘Christian’ ethic of the nation – laughable and slightly ironic considering how keen we are to push others away – music could instil Buddhist/Christian tendencies to its practice. I feel the industry is getting too closed-off and concentrated on London. If the rest of the U.K. and world has to shout louder to get some seating-space; should that be something we need to tackle next year?

I feel there are key topics that need expunging next year. There is rife sexism and racism; there is the North-South divide (combine with the U.K.-world split); venues are suffering and there are too many key areas seeing deprivation and financial stress; the mainstream charts need restructuring and organising – so that certain genres are giving exposure; less reliance on Pop acts and the same sound we are all growing bored of. It is not going to happen overnight – or in a year – but it is clear there needs to be a proactive and together approach to the problems in music. This piece is not designed to sermonise and accuse: I wanted to show how much love and support there is in music. Although, creatively, there are fewer risks being taken than I would like – more on that later today – there is a definite community that embraces one another and shows compassion. I have seen so many musicians share the work of others; venues go out their way to support the best local acts; a host of blogs and writers sharing music and supporting upcoming acts. This Britain of ours is a kind-hearted country that has lost its way a bit. Maybe that has always been the way but, against political distress and balkanisation; the music industry needs to counteract that odious smoke and show greater resolve.

If we can get rid of the problems and imbalance in the industry; promote that warmth and sense of unification I know there is. Music is a huge and broad industry that is hard to properly police and regulate. Although problems and drawbacks are present; the combative wave of affection and love is a good way of remedying. I know many will want a happier and more settled year to the one we are saying goodbye to. We have lost some great musicians – including Tom Petty and Chris Cornell – and there have been problems, for sure. This Christmas; we will see the survivors of Grenfell provide a message to the people. It is this year’s Alternative Christmas Message and is an apt and timely one. The fire might have dampened by the smoke still lingers in the air – a fetid and carcinogenic smog that has blighted the country. The music industry has not faced anything as challenging and monumental as this but there is a collation of smaller conflagrations that, together, make me a little worried. All the good that has come from this in music has provided heart and encouragement. The artists and writers; the D.J.s and producers (and other creatives) who have helped provide a wonderful 2017 of music should be congratulated. I know the music world will continue to grow, evolve and strengthen. There are so many great artists coming through and predicted albums that will certainly get people excited. Despite some of the problems and division we have seen – in music and the country as a whole – we should be proud of producing a year that has seen…

MORE good than bad.  

FEATURE: Viva Las Vegas! The Highs and Lows of a Las Vegas Residency

FEATURE:

 

Viva Las Vegas!

IN THIS PHOTO: Lady Gaga/PHOTO CREDIT: Getty Images

The Highs and Lows of a Las Vegas Residency

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I was going to end the day by writing about…

IN THIS PHOTO: A view of Las Vegas/PHOTO CREDIT: Unsplash

a growing number of drug-related deaths in the music industry. Maybe it is not the most Christmas-appropriate subject to raise but it is an issue that is relevant every day of the year. I shall leave that subject for the next day or two (or longer) but, right now, a look at artists who are entering a rather hallowed, albeit glitzy, manor. From Sir Elton John, Britney Spears and Prince have enjoyed long stays at various Las Vegas locations. Whether Caesars Palace or Rio All Suite Hotel and Casino – I often wonder what the motivation behind a Vegas residency is. It is an odd thing in music and one that draws comparisons to musicians who become talent-show judges. Many feel they are not passing on their knowledge and wisdom – rather, they have passed the peak of their career and are trying to remain viable and popular. I would never be so cynical but I feel it is interesting why some artists abandon the rather fraught and changeable daily existence and immerse themselves in the glamour and tinsel of Las Vegas. From Celine Dion to Rod Stewart; some of music’s biggest names have signed deals to take their music to tourists and Nevada residents alike. I mention this point because Lady Gaga has put her signature on a contract that will see her bring her unique brand of show(wo)manship and Pop magic to the people.

PHOTO CREDIT: Steve Granitz/Wireimage

Before I raise my doubts; I want to bring in a few sources who have looked at the lucrative side of the deal. Variety explained how the deal breaks down:

“The race to lock down Las Vegas’ highest-paying residency is heating up with Lady Gagaannouncing a two-year engagement at the MGM Park Theater. According to two well-placed sources, Gaga is guaranteed just over a million dollars per show, and is committed to 74 appearances. Should all go well with ticket sales, she could extend that run, inching closer to the $100 million mark, a new — and record — threshold for the city and for even the biggest of current pop artists. Gaga stands to earn even more on merchandise sales — typically a 50/50 split with the venue — and VIP offerings”.

The Guardian argued this opportunity indicates the way Las Vegas is perceived and how Lady Gaga is part of the new breed of artists coming through the city:

“Lady Gaga, whose live shows are notoriously outlandish affairs, often featuring over 20 outfit changes, has promised that her shows will be “unlike anything Vegas has ever seen before”. Yet while she may be the face of the new generation of Las Vegas performers, Lady Gaga said it was the appeal of performing in the “land of Elvis, Tony Bennett and Frank Sinatra, the Rat Pack, Elton John, Judy Garland and Liza Minnelli” that had enticed her. “It’s been my lifelong dream to be a Las Vegas girl, I’m so overjoyed.”

 PHOTO CREDIT: Pinterest

The singer has even dangled the possibility she will use the show to debut new material. While her most recent album, Joanne, has not matched the commercial heights of previous releases, her popularity is steadfast and she has been nominated for two 2018 Grammy awards, for best pop vocal album and best pop solo performance”.

It is good to hear there may be more material but I wonder whether the opportunity Gaga has taken follows my fears regarding Britney Spears: it is a way of dodging the anxieties and demands of the music industry. There is no doubt a Vegas residency provides plenty of dollars but is it more a case of performing somewhere stable and non-exhaustive? Lady Gaga’s regular work schedule would see her fly between nations and embark on endless dates – seeing hundreds of hotel rooms and barely catching her breath. There are advantages to the sort of residency that Britney Spears is about to end. The singer has enjoyed a four-year stay in Las Vegas and thrilled fans with her Britney: Piece of Me show. The thirty-six-year-old has enjoyed success in the music industry since she was a teenager and huge critical and commercial success. Sure, she has had some turbulent times but it seems her time in Las Vegas has done her some good. I am curious whether the decision was prompted by a slight downturn in career fortunes. Britney Jean, released in 2013, was the last album she released before heading to Vegas and it was not received with huge applause of appreciation.

IN THIS PHOTO: Britney Spears (playing Planet Hollywood Las Vegas)/PHOTO CREDIT: Denise Truscello

Glory, released last year, fared a lot better and showed a resurgent and refreshed spirit. Maybe, then, a Vegas residency is a way of stepping aside from the brutal machine of music and honing one’s skills. If the likes of Rod Stewart and Celine Dion entered Vegas past the glory-days of their careers: can the likes of Spears and Gaga learn from their times and create the sort of early-career material that put them on the map?! Joanne, unveiled last year, gained some great reviews but not the same affection as, say, her debut album (The Fame/The Fame Monster) or 2011’s Born This Way. Perhaps the constant touring and media glare has caused the U.S. singer-songwriter a lot of aggravation and exposure – unable to have a private label and relax from the constant glare and gossip. I have seen how musicians like Sir Elton John – someone who seems born to take to the Vegas stage! – gain a new lease and energy from regular performance in a comfortable environment. I guess Las Vegas, to some, represents a rather tacky and nauseating side of America. We associate it with gambling, endless neon strips and meaningless weddings. In reality, mind, there is a rich showbiz history that has seen the great of music (like Frank Sinatra) perform there.

IMAGE CREDIT: Getty Images

Maybe Las Vegas is not as productive and intriguing as L.A. or New York but the sheer number of tourists who flock there every year is making it a popular ideal for our biggest musicians. I realise there are more positives inherent (than negatives) when it comes to signing that multi-million-dollar contract but I am curious about the suggested implication those who, traditionally, have played Las Vegas have not been at the top of their game. Maybe Elvis’ time there was legendary but one gets the visions of musicians past their prime entraining crowds who want a comfy chair and a chance to be in bed by 9 P.M. Maybe that is harsh but is it a way for certain artists to keep the dollars rolling in without having a sustained and concerned critical presence on their shoulders? They may have recorded great albums in the past but it seems this is their latter-days vocation and somewhere they can still play music but not have to worry about album sales, reviews and the media’s opinion. Perhaps that is not a bad thing but the bright lights of Las Vegas seem light-years away from the cooler, cutting-edge stages they would have walked years ago. Others might say artists are chasing the green. These contracts make the eyes water when it comes to pay. I know the artists are doing a lot of dates but each performance can net the musician somewhere in the region of a cool $1,000,000!

PHOTO CREDIT: Getty Images

Lady Gaga is not exactly going to have to drink from the toilet or wash her underwear in the kitchen sink! Again; maybe it is the cynic coming out in me. We associate Vegas with gambling and gaudy wealth so is it a rather appropriate reflection an artist should receive a big pay-day but, in the process, play loose with the risks. For someone like Lady Gaga and Britney Spears – the latter used to the demands and lifestyle of a Las Vegas residency – can they step back into the music industry and re-adapt to the (comparative) stress and demands of their former existence?! It is hard to come down from the environment of a Las Vegas hotel/casino and going on tour – playing in different nations and a variety of venues. The niggling suspicion is a lot of artists either do not intend on returning to music or will wind their careers down. Will Britney Spears continue to make Pop music in a few years’ time – when she will be forty?! Unless she reinvents herself like Madonna did for Ray of Light (2000); one suspects the kind of music she is synonymous will appear unseemly being sung by someone approaching their fifth decade of life. I hope Spears does continue to release music but she has been away from the focus of many of her fans and followers. I wonder whether she will ever record another album or, having spent four years performing big and tiring shows, she will take the volume down and record music with great gentility and subtleness.

PHOTO CREDIT: Unsplash

I think there are a lot of good points but only on the proviso the artist, once they have ended their residency, can assimilate back into the musical jungle. Lady Gaga is ending her Joanne World Tour in February and will take a little time to reflect and get some rest. Then, having entertained thousands of people in a whistle-stop tour of the globe; she will prepare her show for Las Vegas and hope to remain there for a while. The reason I say that is because of a report I read in The Guardian back in September:

“On Monday it was announced that Lady Gaga has cancelled her European tour, due to begin next week, because of “severe physical pain that has impacted her ability to perform”. She has fibromyalgia, and has made a Netflix documentary, Gaga: Five Foot Two, to raise awareness about this long-term condition. A statement says: “She plans to spend the next seven weeks proactively working with her doctors to heal from this and past traumas that still affect her daily life and result in severe physical pain in her body. She wants to give her fans the best version of the show she built for them when the tour resumes.”

PHOTO CREDIT: Getty Images

One can imagine there was a sense of relief when Britney Spears was afforded the chance to head to Las Vegas four years ago. Having gone through various relationship splits and an up-and-down spotlight from the critics – some of her albums getting praise and respect; others a little colder regarding her music – it must have been quite a relief stepping into a routine and regular spot in Las Vegas. Her show is coming to its end but she has enjoyed a four-year period of financial stability, regular personal enrichment and a chance to breathe. Most musicians do not have a lot of time to see family and take time off; they are ferried around – that puts a strain on their physical health and mental wellbeing. Spears, having suffered the stresses of music in the past, has been busy during the last four years but not as chaotic and turbulent as it would have been in the ‘regular’ side of the industry. A central stage and regular, adoring crowds would have provided her the impetus to keep performing and, in doing so, a degree of spiritual enrichment that was desperately needed. Anyone who has seen Lady Gaga’s recent documentary, Gaga: Five Feet Two would have been moved by her bare-naked revelations and plight. She opens up about stress and depression; how fibromyalgia has impacted her music/life – throwing a light on the realities of the business and how hard it can be.

IN THIS PHOTO: J.Lo/PHOTO CREDIT: Getty Images

Few of us are aware of what happens behind closed doors and what a high-profile musician is like away from the microphone and camera. Stars like Britney Spears and J.Lo (another big name who has taken her music to the Vegas crowds) have been scrutinised and scandalised by the media – in a way; Las Vegas provides a shelter and safety for them. Lady Gaga will have a more stable diary and have time to rest and get away from music – not a lot more much more than she normally would. Her contract covers a set amount of dates (seventy-four) but that could be extended. One of the only issues is whether her fibromyalgia flares and exacerbates during that run. She is tied into a contract so missed dates might compromise the deal. I feel she will be a lot more settled and, not only will her mental-health and physical safety be better; she will be able to hone her craft and find fresh inspiration. One can argue previous Vegas incumbents like Elvis Presley, Sir Elton John and Rod Stewart have found new lease and creative juice following their time in Las Vegas. I look forward to seeing whether Britney Spears A) brings out an album next year and, B) it employs different genres/a more mature and left-field musicianship. It is possible Lady Gaga, following her time in Las Vegas, might change her dynamic and, perhaps, tone her music down.

IN THIS PHOTO: Sir Elton John (during one of his Las Vegas shows)/PHOTO CREDIT: Getty Images

There is nothing wrong with the theatricality and pantomime of her music but, for anyone who listens closely, there is incredible songwriting and hypnotic hooks that compel music fans of all ages. I am excited to see her given some time away from the strain of the music industry and find creative focus and some sense of stability. There are demands and definite stresses involved with mounting a Las Vegas show and one cannot underestimate the effort and dedication needed to perform all of those dates. I worry the build-up, expectation and wok-load will cause some scars and cracks but it will be less strenuous and brutal than an average tour for Lady Gaga. The biggest hope, following her time there, is she can take what she has learned and continue to make music. I fear many Las Vegas leavers failed to record much new material – it certainly does not match the gold and brilliance we know and love them for. Lady Gaga is a figure the music industry needs: her brand of Pop is just what we need at a time when there is too much predictability, sterility and generic. It has been interesting looking at this subject and I am pleased Lady Gaga has the opportunity to bring her power and talent…

PHOTO CREDIT: Unsplash

TO Las Vegas.  

FEATURE: Inkheart: The Music-Themed Tattoo and Mental-Health

FEATURE:

 

Inkheart:

ALL PHOTOS (unless credited otherwise): Unsplash

 The Music-Themed Tattoo and Mental-Health

________

THIS might seem like a strange…

thing to talk about – and the dearth of inspiration and relevance – but, despite the fact I will keep this short, there is plenty of relevance. I am always fascinated by people’s music tastes and what it means to them. We blithely and nonchalantly listen to music and it becomes part of our routine and daily lives. We all have our favourite songs and gravitate towards certain artists. I have spoken at-length about mental-health and how it is on the rise. One cannot ignore the sort of things we hear on the news and read about on social media. Most of my contacts are musicians and it is devastating hearing so many tales of crisis, depression and anxiety. Whether the music industry itself is causing this – or there are personal issues affecting the problem – I do not know. It is clear, in 2018, we need to look at the music business and ask whether artists are being placed under too much pressure. It is harder to find success and attention now – than it was years ago – and the sheer effort needed to maintain a career is staggering. With this sort of hardship and burden placed on every musician; one wonders what the toll is going to be. I realise it is getting into depressive territory but, as it is almost 2018, many artists are planning their diaries and wondering where they will be heading. They will have aims and ambitions and, with that, the hard work begins. The strain we are putting on artists is immense.

Even me, who does not have the same ambitions and goals as musicians, are putting themselves in harm’s way and creating a lot of anxieties – it is a problem of the modern climate and something we all need to be more aware of. So, then…what is the idea behind this feature? Many people I know are getting down and finding inspiration in music. Whether that is a lyric or a symbol; a favourite song or artist – something that simple can provide solace and direction. I am not suggesting for a minute something as minor and meagre as a tattoo can be the difference between life and death. What I am suggesting is a tattoo can help provide a sense of place and focus. I am seeing more and more people (not only musicians) taking that commitment and getting themselves inked. Whether it is a great lyric or name of their choice artist: carrying that with them provides security and pride. A lot of people have tattoos and, with everyone, there will be different reasons as to why they chose that particular design. Another reason I wanted to write about this is because I still hear a lot of people judging and condemning them with tattoos – calling them ugly, vulgar and unsightly.

PHOTO CREDIT: Pinterest

The reason I got one, years ago, was to show my love and passion for something that has a significant purpose – it is nothing as lofty as a relationship or girl – and I do not regret my decision. In fact; I asked for a tattoo voucher for Christmas. I have found myself becoming pressured (maybe by my own work ethic) to be good and to achieve. No matter how popular and busy you are somewhere, there is a part of the brain that says you are not good enough. Maybe it is a natural human reaction: always wanting to be better and measuring ourselves against unrealistic ideals. The desire to keep working, pushing and pounding, naturally, causes its fair share of anxiety and fatigue. Kind words and praise are goods for the soul but that washes away and, before you know it, the tiredness and stress comes back. I felt a great way of reminding myself why I do what I do is a tattoo. I am seeing a lot of my peers proudly support tattoos on their social media pages. Many of them are going through some tough times and have headed to the tattoo studio to get some personal and musical etched onto their skin. I know tattoos have been sported by musicians for decades – an integral part of movements like Punk – but I am talking about something much more personal and significant.

I will not reveal the design I am choosing but the reason I wanted to a tattoo (studio) voucher was to show my dedication and affiliation to music. Those who turn their noses up at the inked do not understand the reason people do it. Everyone I know with a tattoo has a story behind it; it represents something pure and meaningful. Many of the people I see getting tattoos are choosing music designs and having words/lyrics inscribed; they are facing hard times and indecisions by reminding themselves why they are in the industry. There are, of course, musicians who get music-themed tattoos because they want to show their love of a particular artist/song – with no mental-health subtext behind it. What does strike me is the passion artists have and the fact music means that much to them. Perhaps that is no huge shock but getting a tattoo is such a huge commitment and decision. It is going to be with you forever – unless you get it removed – and, in many cases, is visible to everyone else. I have been focused on my work but losing focus of why I am pushing myself so hard. It seemed like a tattoo would be the best way of providing that permanent reminder and guide. So many others are taking that plunge and, in doing so, making a big difference in their lives.

I have heard of people suffer terrible depression and tempted to do something horrible. By getting a tattoo – with something deeply significant on their skin – it provides a warning sign and comfort; a reason to keep going and a constant reminder of who they are and why they matter. It can be quite scary getting a tattoo done (especially if this is your first time) and it is not something I would advise people do unless they have thought it through. It was a no-brainer decision for me but, when it comes to design, that took a bit of thought. I will post pictures when I have had it done but, as I look around for structure, vision and reasoning – something as simple as a tattoo can be very powerful and affecting. I can understand those who do not want a tattoo done themselves but have little time for those who claim they (tattoos) are ugly, pointless and offensive. I have seen so many artists (and others) get tattoos done and there is always a different reason behind the choice. To some, it is a great way of showing off their love of music; for others, it is a great way of taking something musical wherever they go. To some, mind you, there is something beyond the skin-deep. It can be, quite literally, the difference between life and death: a symbol/phrase that brings them back from a dark place and provides light. Nobody can judge those people and I am so pleased there are more and more people getting tattoos. Whether your reasoning spiritual or personal, mental-health-based or for sheer fun – tattoos are part of the musical fabric and can create a sense of identity and confidence. A tattoo is a reason I am making bigger plans for next year and, to so many other people, it is a permanent way of reminding them to… 

PHOTO CREDIT: Pinterest

NEVER give up hope.  

FEATURE: Ones to Watch in 2018: Part V: To the End...

FEATURE:

 

Ones to Watch in 2018:

 IN THIS PHOTO: Nicole Atkins/ALL PHOTOS (unless credited otherwise): Getty Images

Part V: To the End...

________

THE final part of this feature…

IN THIS PHOTO: Tom Tripp

brings together some top talent who, I reckon, will do some good things in 2018. It is a largely British affair but there are international acts – from Berlin and Nashville. Here is the rundown of the artists who have the ammunition and potential to make their impact on music next year; to lay down a marker and get closer to the mainstream…

_________

Lewis Fieldhouse

Genre: Americana-Pop

Location: London, U.K.

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

Twitter: https://twitter.com/lewisfieldhouse

The Rhetoriks

Genres: Urban; Dance

Location: U.K.

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

Twitter: https://twitter.com/TheRhetoriks

Elle Watson

 PHOTO CREDIT: Haris Nukem

Genres: Pop; Alternative

Location: Sevenoaks/London, U.K.

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

Twitter: https://twitter.com/ellewatson

Catholic Action

Genre: Alternative

Location: Glasgow, U.K.

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

Twitter: https://twitter.com/_CatholicAction

The Hyena Kill

Genre: Rock

Location: Manchester, U.K.

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

Twitter: https://twitter.com/thehyenakill

Dashni Morad

Genres: Alternative-Folk

Location: Irbid, Iraq/London, U.K.

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

Twitter: https://twitter.com/Dashni_Morad

LARY

 PHOTO CREDIT: Becca Crawford

Genre: Alternative

Location: Berlin, Germany

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

Twitter: https://twitter.com/larypoppins

 

Eva Lazarus

 PHOTO CREDIT: Domas Zinkevicius

Genres: R&B; Pop

Location: Bristol, U.K.

Follow: https://www.facebook.com/Eva-Lazarus-117339965031307/

Twitter: https://twitter.com/EvaLazarus

Benny Mails

Genres: Rap; Hip-Hop; Grime

Location: London, U.K.

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

Twitter: https://twitter.com/BennyMails

Sälen

Genres: Pop; Alternative

Location: London, U.K.

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

Twitter: https://twitter.com/heysalen

Little Sparrow

Genres: Folk; Singer-Songwriter

Location: Manchester, U.K.

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

Twitter: https://twitter.com/uklittlesparrow

Tom Tripp

PHOTO CREDIT: @ronanksm

Genre: Electronic

Location: London, U.K.

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

Twitter: https://twitter.com/tomtripp

Nicole Atkins

PHOTO CREDIT: @jensvandervelde

Genres: Rock ‘n’ Roll; Alternative; Country

Location: Nashville, U.S.A.

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

Twitter: https://twitter.com/NicoleAtkins

PINS

PHOTO CREDIT:  Andrew Benge 

Genres: Alternative; Rock

Location: Manchester, U.K.

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

Twitter: https://twitter.com/WeArePins

Luke Edney

Genres: Pop; Rock; Blues; Folk

Location: Surrey, U.K.

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

Twitter: https://twitter.com/LukeEdneyMusic

CHILDCARE

 PHOTO CREDIT: Wolf James Photography

Genre: Alternative

Location: London, U.K.

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

Twitter: https://twitter.com/CHILDCAREBAND

Emmi

Genre: Alternative

Location: London, U.K.

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

Twitter: https://twitter.com/emmimusic

Phobophobes

PHOTO CREDIT: Steve Gullick

Genre: Alternative-Rock

Location: London, U.K.

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

Twitter: https://twitter.com/PPhobes

Violet Skies

Genre: Pop

Location: South Wales, U.K.

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

Twitter: https://twitter.com/IAmVioletSkies

Dama Scout

Genres: Alternative; Pop

Location: London/Glasgow, U.K.

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

Twitter: https://twitter.com/damascout?lang=de

Tigercub

Genres: Pop; Alternative

Location: Brighton, U.K.

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

Twitter: https://twitter.com/_TiGERCUB

FEATURE: Strings Attached: Is Acoustic-Based Music Relevant in the Modern Scene?

FEATURE:

 

Strings Attached:

ALL PHOTOS (unless credited otherwise): Unsplash 

Is Acoustic-Based Music Relevant in the Modern Scene?

________

BEFORE this year is through…

I will look at a variety of things I have not covered before. Among them will be new technologies and breakthroughs; ideas and suggestions; some of the best (and worst) musical achievements of the year; tattoos (believe it or not!) - and a lot of other stuff. My energy for Christmas-based features has waned slightly so I am going to look at non-festive topics that are of interest to me. One thing I have noticed about modern music is how few genuinely appealing acoustic-led songs there are out there. The past few years, certainly, has seen genres like Folk relegated and overlooked. Many might say that is nothing new: it has never gained the focus it deserves and has struggled for appreciation. I guess the last time acoustic artists were truly commended and celebrated was back in the 1960s and 1970s – the likes of Bob Dylan and Joni Mitchell, for example. I will come to them but feel modern music has evolved and changed so much there is that emphasis on sound and energy – fewer artists willing to strip it back and produce something quite tender and Folk-y. Of course; there are other genres where one can hear softer strings – there have been a couple of albums this year that have provided that sense of comfort and contemplation. Courtney Barnett and Kurt Vile’s Lotta Sea Lice (awful title, by the way!) gained some great reviews but some felt the record was a middle-ground and compromise: none of Barnett’s fire and playfulness; the material did not match Kurt Vile’s best days.

Although that record garnered appreciation and showed both songwriters were suited to one another and able to step outside their usual remit – most of its gentler moments still had an electric guitar in the mix. Top Folk albums like Queen of Hearts by Offa Rex and Julien Baker’s Turn Out the Lights have stepped into Rock territory and employ a lot of different sounds and variations. I guess you can claim albums like Stranger in the Alps (Phoebe Bridgers), Not Even Happiness (Julie Byrne); Hitchhiker (Neil Young) and Memories Are Now (Jesca Hoop) are quite soft in places. Hoop’s album was reviewed by Allmusic’s Marcy Donelson who claimed:

“The whole record, in fact, is injected with a heavy dose of gumption and irreverence, a spirit that, deliberate or not, seems timely in the sociopolitical climate of early 2017”.

Maybe it is the times we live in that means fewer artists are picking up an acoustic guitar. There is a lot of tension and uncertainty in the world - so it is only natural modern artists would reflect this through greater urgency and sonic exploration. I would counteract that assertion with the fact, back in the 1960s, there was plenty of political strife and social division. Artists like Joan Baez and Bob Dylan created assertive and sentient music with acoustic strings – that offered commentary regarding the world around them (and wise words).

PHOTO CREDIT: Getty Images

I feel this year has been a good one for music but is defined by sonic ambition and evolution. Even Folk artists – who exist in a genre defined by a certain stillness and grace – are pushing the envelope and taking the genre in new directions. I guess music is much more competitive and busy than ever and there is that need to stand out from the crowd. Will one fall for an artist unless they provide music with depth, vibrancy and colour? It is hard to capture the minds armed with little more than an acoustic guitar, songbook and voice. It may sound like I am hankering after a time that no longer exists: has music come too far so acoustic-made music is no longer viable and demanded? There are Pop artists (like Ed Sheeran) who produce acoustic music but they/he appeals to a very limited audience. Even musicians like Sheeran, who courts a huge following, are not really offering anything original and memorable. The reason this subject comes to my mind is the fact I have been listening back to great Folk/Pop albums of the past and immersed in their beauty and power. One need not be rigid when it comes to the definition of ‘acoustic’. Take an album like Blue (Joni Mitchell) or Tapestry (Carole King) and you get piano and other elements. Again; there are very few albums that strip things back and provide shivers and astonishment.

Is it, therefore, impossible to replicate the sounds of the 1960s/1970s – at a time when music is at its hottest, most jam-packed and varied? The acoustic artists we hear on the radio now, for the most part, seem to have little to say and do not really remain in the mind.  For those who want a modern-day Wonderwall (Oasis) or Blowin’ in the Wind - where do we turn to get our fix?! Perhaps we do not have the same calibre of artists now but I wonder whether guitar music is as relevant in the modern day? I read an interesting article by Billboard published earlier this year – that asked whether Folk music was social relevant – are modern artists preserving the ethics and ideals of their forefathers?

“It’s hard to imagine the turbulent '60s without such folk songs as “Blowin’ in the Wind,” “Eve of Destruction” or “The Times They Are A-Changin’” serving as musical markers of protest. And when Lady Gaga opened her Super Bowl halftime show earlier this month with Woody Guthrie’s iconic folk song “This Land Is Your Land,” the 77-year-old patriotic anthem got introduced to a new generation.

As America enters its most fractious political time in decades, can folk regain the social relevance it once had as the musical voice of resilience and resistance? The very people you would expect to say yes -- some of the biggest artists in the folk genre -- said no during the 29th annual Folk Alliance International conference held Feb. 15-19 in Kansas City, Missouri. But they passionately believe that folk music and its heritage will have a moral and guiding role in shaping the conversation, no matter what it sounds like.

 “White boys with guitars is a bit outdated,” FAI keynote speaker Billy Bragg told Billboard. However, he added, “This is one of those fertile times when folk music can come along and feed the resistance. What’s different is that music no longer has a vanguard role in youth culture because of the internet. There are so many different ways to express your anger now, whereas before the only real medium that made sense was music. If you’re 19 and angry, you can make a film on your phone.”

Modern bands like Shame and IDLES are producing terrific guitar music; there are promising Punk/Alternative groups appearing on the scene right now. I agree (with Bragg) Folk music has a vital role in today’s world! The political and social clashes mean there is a need for artists to articulate the divisions and strains we are all aware of. If, as suggested, there is a strong and necessary Folk scene cementing and rising – where are the acoustic-based artists?! The same article raised an interesting point when referring to U.S. Folk and the type of sounds/styles favoured:

“It is a tough line to walk, said upcoming folk singer Caitlin Canty, especially when so many artists make their living playing in red states before paying customers who want to be entertained, not necessarily preached to.  “I feel sympathetic to those audience members,” she said, adding that she kept most of her political opinions and activism separate from her music -- until recently. “We need our Guthries right now,” she said. “That’s not how I’d stereotype myself or my friends, but I think everyone is adding that piece to their personality right now.”

 What folk artists may lack in arena-sized audiences, Finnan believes they can make up for in a more personal outreach. “The activation that is happening now is at a grassroots level,” he said. “There is an intimacy to the presentation of acoustic-based folk music that is in the coffee houses, in the community halls, in the church basements, in the high school gymnasiums that has a very disarming quality and that has a proximity to people’s hearts and lives that is different from commercial music. There may be a few crossover acts that bump up into that world from ours, but I think it’s a different track that folk music can tak.”

It is that personal touch I want from music. I love the way music continues to change and develop but I am concerned the market/mainstream demands artists have a certain sound. Even modern Folk, away from the underground, is defined by a more varied and genre-splicing sound. Aside from the odd album here and there; I am hearing few acoustic artists who can genuinely stand out and create an impact. I long for the literate and cultured sounds of The Beatles (the sort of sounds they were producing around 1964-1965), Simon & Garfunkel and Bob Dylan – artists that have survived the years and inspired so many people to go into music. I guess a lot of acoustic-focused music is Folk and, historically, that genre has investigated poorer communities and struggles; the plight and fight of those suppressed and ignored. If, in a gentrified and developed world, there is less social poverty – Folk music loses some of its traction and necessity.

I think there is plenty of struggle and hardship out there but, whereas Folk artists addressed these problems in years-past; now,  genres like Hip-Hop and Rap are taking over. It is important to preserve the traditions of Folk because it is a way of passing down to generations the reality and situation of the world. A lot of current music shies away from issues like social deprivation and political tension – the same themes and subjects (love and personal struggles) are still the popular currency. It is not only Folk music that employs acoustic strings to convey its messages. I have mentioned artists like Joni Mitchell, Bob Dylan and Carole King. They, between them, have crafted immaculate, heartbreaking love songs on the acoustic guitar. It is not true that all acoustic music is Folk; it is not the case all the greatest songs ever created have gone beyond the humble six-string. I wonder whether artists are concerned something pastoral and acoustic alienates them from the public. Folk is transforming and most mainstream artists employ more instrumentation into their music. I know acoustic music, in general, has never been huge – it is nice to hear artists bare their soul in an original and striking way with little more than that single instrument.

I do not buy into the assumption guitar music is dead and extinct. Maybe that is true of the mainstream but, when you look at the great artists coming through right now – maybe independent and underground – there are plenty of Punk/Alternative/Rock options. I believe there will be a revival and re-examination of guitar sounds. Solo artist-made music is more popular and impressive (in my view) than band-created sounds but the contemporary musician is a lot more adventurous and vivacious than previous years. You can debate how important and relevant acoustic music is at a time when there is bubbling communal anger and universal friction. Perhaps we do need the fire and motivation of Hip-Hop pastors; the incredible fizz and innovation of the new bands emerging. It is a shame the likes of Bob Dylan and Joni Mitchell seem to be a product of the past - something we cannot reverse and revert to. Perhaps this is something we need to consider for 2018? We need to promote artists who document the desire of the people and go beyond the predictable and generic songs of love and relationships. I do not agree that acoustic music – whether Folk or Pop – is a non-entity that has little muscle and importance. Maybe it is a fear of commercial isolation or a lack of quality – there enough great singer-songwriters around that can argue against that point – but I feel the sort of potency and genius one can only get from the acoustic guitar still…

HAS a huge role to play!  

FEATURE: Wonderful, Glorious: Is There Such Thing as a ‘Perfect’ Song?

FEATURE:

 

Wonderful, Glorious:

ALL PHOTOS (unless stated otherwise): Unsplash

 Is There Such Thing as a ‘Perfect’ Song?

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AT this time of year…

we wrap everything up (apart from presents) in a sense of wonder and delight. We are relaxing into Christmas and everything is a lot calmer and happier now (than any other part of the year). Some, in fact, see the Christmas period as ‘perfect’. It is a time for family and retuning; taking it easy and enjoying time away from the strains of everyday life. I have been thinking about – as I launder the Christmas stocking – whether there is, in music, such thing as ‘perfect’. One can argue music is so subjective there is no such thing as a perfect album or song. On the album front; I wonder whether there are creations that are, if not perfect, as near as you will get? Do emotions and time make a record better and more meaningful? You can debate an L.P. like Revolver (The Beatles) or Rumours (Fleetwood Mac) has no filler and, as they have endured and impressed for decades, they are perfect. I am a massive fan of The Beatles but can compartmentalise their albums into categories: the most underrated, the finest; my favourite, the most influential. Revolver would definitely fall into the category of ‘the finest’ – my actual favourite would be Rubber Soul. Albums like Rumours are phenomenal but I would say there are a couple of songs I do not listen to with my whole heart.

Maybe they are skipped – despite the fact they are great – and I rush to the other numbers. Albums, like songs I guess, can be judged subjectively. I thought of this topic because I am listening more and more to new music – inevitable, given what I do – and trying to detach from older tastes. I think we all find natural comfort and sensibility in the music we were raised on; the artists that compelled us to fall in love with music and become fascinated. Newer music can resonate and inspire but there is always that natural attachment to the songs of old. Given the fact modern music is so busy, big and eclectic: do we ever get the chance to sit down and really investigate a moment?! We are inundated with streaming, new singles and hot acts – they are sort of flash past and you never get the opportunity to savour and linger. A few songs might stick in the brain but when was the last time you had to stop everything, turn the radio/laptop up and listen to this phenomenal track blasting in your ears?! Tomorrow, I want to look at acoustic music and whether it has lost its edge: now, as I debate the comparative merits of newer music; I wonder whether there is a secret recipe to create a perfect song? Albums suffer the problem they have a lot of tracks and, invariably, some people will not like others as much as you do – can a record truly have enough strength to be called ‘perfect’?!

IN THIS PHOTO: Dagny/PHOTO CREDIT: Getty Images

I will come back to that but, when it comes to songs, maybe it is not all about memories, personal tastes and critical reviews. A lot of the music we hear now is geared towards platforms like Spotify and YouTube. I guess we need to define the parameters of a song and what to consider: some might say there is no science and feeling needed for such a discovery: it is about the feeling and sensation. That might be true but are there certain aspects present (in the very best songs) that new artists can learn from? Popstar Dagny conducted an interview last year and was asked whether there is such thing as a perfect Pop song:

“I’m not sure there is such thing as a “perfect pop song”. To me, being a melody girl, a good hook and a catchy melody are the foundation of a great song! And you got to get a feeling across, whether it’s joy, energy or melancholia”.

I think that is the problem with the modern mainstream: there is that need to get something instant and hooky-out; create a sense of fun and abandon. Big streaming figures and airplay is as much to do with accessibility and digestibility as it is depth and texture. I wonder whether the market has become so saturated and changed we will never hear a new song that rivals the biggest hits of yesteryear. To me, music is not only about memory and nostalgia: one can find perfection in the modern times, for sure...

A 'perfect song' would not be something that is loved and adored by every human that listens to it: something that has no discernable faults; can grow in the mind and stay in the heart – that, in truth, is all it takes. The last time I heard a song that did that to me – in terms of contemporary music – was, I guess, a few years ago now. It has been a long time since I heard a track that I was compelled to repeat and stays with me now. You can argue something semi-modern like Beyoncé’s Crazy in Love is a perfect song – it gets people dancing and has inspired cover versions – but that was released over a decade ago, now. I would argue there are songs that fit into my definition of ‘perfect’ but, for the most part, they are quite old. I will go on, but I wanted to bring in an article from Esquire - where they discussed the subject and what makes a ‘perfect song’.

 “Everybody knows a perfect song when they hear one, everybody has a list of perfect songs, and everybody's list of perfect songs is pretty much the same as everybody else's: "Amazing Grace." "You Are My Sunshine." "Hallelujah." "He Stopped Loving Her Today." "Summer Wind." "I'm So Lonesome I Could Cry." "Let's Stay Together." The rules are so well-known that there's even a perfect country song about the rules of perfect country songcraft, David Allan Coe's version of Steve Goodman and John Prine's "You Never Even Called Me by My Name," in which Goodman boasts that he's written a perfect country song, and Coe reminds him that "he hadn't said anything at all about Mama, or trains, or trucks, or prison, or getting drunk." What Coe's really doing, of course, is confirming what everybody already knows — that there's a formula for perfection, and the perfect song is the song that follows it and rises above it at the same time.

A perfect song, then, is a simple song. A perfect song begins with either a declarative sentence ("Well, he walked up to me and he asked me if I wanted to dance," as the Crystals sang in their perfect song of 1963, "Then He Kissed Me") or a direct address to the listener ("Hear that lonesome whip-poor-will," as Hank Williams sang in "I'm So Lonesome I Could Cry"). Whether it's a country song or a soul song, a perfect song follows classic pop-song structure and doesn't last very long. A perfect song tends to be cinematic as much as it is musical — "Wichita Lineman," which otherwise is a Kansas utility worker's complaint about having to work extra hours, is a perfect song because it functions as a short film about loneliness — and often shows up in movies. Most of all, though, a perfect song is a song you first heard on the radio, because — besides simplicity and yearning — the elements indispensable to all perfect songs are the elements of commonality, time, and fate. Subtract any of these and not only do you have a song that is suddenly less than perfect, you have the lot of the song aspiring to perfection in the age of MySpace and the iPod”.

I agree with a lot of what is said (above) but feel you can add a couple of other bullet-points into the list: a song that provokes some serious emotion and is adaptable to any mood, need and time. I will revisit the ‘against’ side of the argument before wrapping up - but I have been considering the songs, I feel, are beyond scrutiny.

The two songs, oddly, that are in those sacrosanct, God-like holes are Hallelujah (Jeff Buckley’s version) and Kate Bush’s Running Up That Hill (A Deal with God). Both artists have, I know, crafted songs that are considered fan-favourites but both are not so lucky they can rely on these songs alone to create a legacy – it is the fact these numbers, to me, stand above the rest. So, then…what is it about these numbers that are ‘perfect’ (to me, at least). The article I sourced (above) looks at the simplicity of a lyric or hook: something that gets into the soul without much fuss and drama. I feel Buckley’s cover of Hallelujah is more a sermon/rendition than an actual vocalisation. Leonard Cohen wrote the song for his 1984 album, Various Positions - but his version is a completely different beast (to Buckley’s). Cohen’s low-voiced, gravelled take is perfectly okay but Buckley’s reading is a transcendent and unearthly thing. He talks Cohen’s masterful words – Buckley considered his take to be a celebration of the orgasm – and brought every syllable to life. From that single, aching, breath at the very start; down to the impossibly soothing held note at the end: it is a rapturous, spine-tingling song that surpasses the original but could not have happened without the original. Cohen could never have performed the song as wondrously: Buckley could never have written lyrics as poetic and intriguing.  

There is something about Buckley’s vocal that stops you dead and forces you to experience the music – you cannot have it in the background or casually bond with the song. The vocal, to me, is perfect as it ranges a gamut of emotions and always drops the jaw. The lyrics are flawless and there is little compositional encroachment – arpeggio electric guitar is about all you get. Hallelujah is not a song to bring a smile to the face but it seems to reveal new meaning every time I hear it. Buckley’s version was recorded ten years after the Cohen original – for his only, and seminal, album, Grace – but has endured and continues to inspire artists now (the slew of inane cover versions have not dampened its magic). I come away from the song a better person; educated and calmed; baffled by its sheer grace (no pun intended!) and nuance. Similar reactions are provoked when I listened to Hounds of Love’s most-celebrated song. That evocative and epic introduction; the passionate vocals and the feeling I get when listening to the track – it is not my favourite Kate Bush song but is the one that summons something others don’t. There are common threads in both songs – a sense of beauty and the sublime; incredible vocal performances and words that have a sense of strange wisdom – but they are quite different-sounding.

They are, to me, perfect songs and I can find no fault in them. There are others who disagree and can find flaws: is it, then, still a case of the subjective taste of the listener?! I think there are songs that defy any criticism and (a song) need not be complex. There are many tracks that I would rate perfect but I can understand those who feel, in a lot of ways, a single moment of music cannot reach giddy heights. I am a little worried by the modern currency of disposable Pop songs that do what they need and then disappear. I know there are artists who craft incredible music and take a lot of time over their work: a lot of what is proffered and promoted in the mainstream lacks any real craft and skill. I guess it has been that way for a while but does that mean, years from now, we will struggle to name any songs from this decade that truly deserve the word ‘perfect’ put next to them. Is it all about personal definitions or is music so subjective, no matter what song you name, one can find flaws somewhere?! It is rare to discover but there are those tracks that do something profound and, when you look at them, cannot be faulted. Will we, in this decade, see a song that is perfect and flawless? Have we seen one (or more) already? It would be good to know…

WHAT people think about this subject.

FEATURE: Moving with the Times: Music Journalism in 2018

FEATURE:

ALL PHOTOS: Unsplash

Moving with the Times: Music Journalism in 2018

________

A few things have caught my mind…

over the course of this year.  There has been some personal revelation and change; a need to develop what I do and push into new areas. Next year, as I consider how to expand and grow my blog - I have been thinking about the ways music journalism is changing. One of the biggest regrets I have had this year is being too lenient with artists. Quite a few of my reviews and interviews have been with artists whose images and information has been lax. It is annoying seeing so many artists pitch to me and not really doing their research. I understand there is a need to get material out to people and be visible but having that scattergun approach to submitting is not the way to go about things. I have been too soft with some and regretted putting up pieces. The music might have been good but the photos – or the lack of them – have been disappointing and poor. I have encountered people asking for interviews and not filling out all the questions I submit; others who want it published weeks after they have sent it back to me – why are to do an interview and wait for weeks to have it online?! – and others who provide scrappy and flimsy interviews. I have reached a point where I don’t need to go after people for requests – or I can and expect them to comply – so next year will see me becoming a lot stricter with any requests that come my way.

This covers interviews and reviews: if they do not have a selection of good images and information, I am not interested. The same goes with ensuring, if they are interviewing, they answer every question I ask. That tactic could alienate me from a lot of artists and get the workload down a lot. It is an approach I have had to take because I am not willing to see my blog suffer and look shoddy. I have a unique style/format and, if artists are dissatisfied with my rules, there are dozens of other options they could explore. This might sound like a rant from me but it is a signal of where I want to head and how seriously I am taking things. I have noticed a lot of music sites – the popular and big ones we all flock to – adopting a similar approach to their pieces. One would not read an interview with Kendrick Lamar, say, and see a couple of blurry images on the piece; they would not feature any artist/album and produce poor images – nor would they publish an interview where some of the questions were omitted. I have been thinking about sites like Pitchfork and The 405 and the work they produce. I realise they have teams behind them – and have the resources and time to do that kind of work – but it is inspiring seeing great, detailed features on artists; able to hook people with incredible journalism and of-the-moment articles.

There is no reason why a smaller, less-known blog cannot match the big-league sites such as Pitchfork. The reason I wanted to write this piece was to show how journalism is changing and what direction it needs to take in 2018. I am noticing a lot of sites produce the same articles (writing about the same things) and most of the work is written. They do put videos on their sites but most of these are music videos. Interviews, on the whole, are written and one gets very little audio content. In a time where attentions are waning and people want a mix of the written word and audio. Maybe it is a question of traditions and risk but it would be good to see more interviews online that are filmed. All of my interviews are conducted by email but I understand a lot of people are hankering for something tangible and visible. Whether this involves recording an interview – like I would on a radio station – or filming it; adding that aspect to my site seems like a good move. I feel more of the larger sites should adopt this and create that blend of written and spoken interviews. A few months ago; I mooted the possibility of a music YouTube channel whereby one would produce regular videos covering a variety of subjects.

Maybe there would be a series looking at classic albums; interviews with unsigned acts and tracks of the week; features regarding various cities and artists coming from there – essentially, what one might see on a top-notch music site but in the form of videos. I am keen to move into video-based territory - as I feel there are too many sites providing the same thing; sticking with written content and, when there are so many options available, it can be hard to differentiate and distinguish. It is great seeing the range of sites and the quality of journalism but, from my viewpoint, I have spent a large chunk of the year sat at a laptop and not interacting with musicians. I aim to see more gigs and set up an interview series whereby, in one part, two artists – either D.J.s or label boss; musicians or bands – interview one another; the other would be me chatting with a musician. I am ambitious when it comes to chasing established musicians and would like to get a few high-profile artists on my pages. As music becomes more digital-focused and there is less reliance on the printed word; websites need to recognise the changing demands and tastes present in music. There are blogs/sites that combine videos and written articles but there are few sites that produce a comprehensive channel that has filmed interviews, audio documentaries and other videos.

Given the number of vlogs, podcasts and digital stations out there; something that draws these together might be a nice idea. There are few music websites that combine traditional journalism and provide their own podcasts/series. Given the fact Sir Paul McCartney has started vlogging: does anyone in the world of journalism have reason to ignore such an immediate and vibrant platform?! It is a case of controlling quality and ensuring what you put up is of good and meaningful quality. I love the pieces I put out but I feel the best way for me, and any site/blog out there, to improve and evolve is to get into the open and, if you are at the laptop, to think about multimedia diversification. There is the issue of cost when it comes to ambition – travelling to meet artists and filming equipment; paying for new software and technology – but these ‘investments’ are worth the burden. There is a huge, bright and busy music world out there: getting out there and embracing it is a good ambition for 2018. As I introduce regulations and get tougher with artists; I am looking at the broader horizon and seeing what is out there. I have spent so much time in London – and various other cities regarding acts – and have neglected large parts of the world.

It is time to change things and get out there! Another of my ambitions – I don’t want to use the word ‘resolutions’ – is to focus more on northern music and the great artists who do not get the recognition they deserve. I am writing a piece in a few days that will look at Manchester and how, I think, it will gain traction – taking the focus from London and getting back into the public consciousness. In essence; I am eager to explore parts of music that are relatively unchartered and overlooked. It will be exciting stepping into the year and seeing what it holds. I am always researching and seeing what other music sites are producing but there is that feeling, deep down, that there needs to be a sea-change. Printed music papers/magazines are becoming rare and people are getting their content on their laptops/computers. I often wonder, when considering the reader, whether an article (such as this) looks a bit dry and unmoving on the page. I regularly check out the biggest websites (music) out there and, whilst they provide inspiration and guidance, I cannot help wonder if there is something missing. This time of year is a quiet-ish one for music journalists. Most artists are winding things down and making their plans for 2018.

Over the next few days; I will start thinking about the ventures I want to achieve next year. I have been a little stubborn this year regarding the way I publish my work and the format it takes. That need to diversify and provide a balance of audio and visual is the biggest lesson. From my defence: a limited budget has restricted my movements and ambitions but, as I become more committed to what I am doing; I realise I need stretch my horizons and do better. I feel the same can be said about a lot of sites – who have teams behind them – and, whilst budget is a factor for all of us; one can achieve a fair bit by utilising channels like YouTube. The final pieces of this year - aside from some ‘best of’ lists – are going to look at more general themes. The modern music fan demands a lot more from the media: keeping their attentio held and firm is a challenge in itself! We need to learn a lot of lessons as we head into 2018 (and take stock) and, I feel, music will take on a bigger role than any other year in recent memory. The media will be in the spotlight as there will be a lot to write about; the way it is presented to the reader The printed/written word is vital but I have noticed a stagnation and lack of movement in music journalism. Maybe it is not as simple as introducing more videos and features but the need to create something incredible and forward-thinking is clear. Who will take that step…

WILL be interesting to see!

FEATURE: "Hi-Ho-Hum…" The Essential Christmas Playlist

FEATURE:

 

"Hi-Ho-Hum…"

ALL PHOTOS: Unsplash

The Essential Christmas Playlist

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IT is only a week to go…

until we all will be ripping into presents like a pack of wolves tearing the flesh from a recently-conquered carcass! If that festive and beautiful image does not stir the Christmas spirit then I do not know what will! I guess, technically, by this time next week we would have opened all the gifts and will be tucking into Christmas dinner – saying goodbye to the waistline until the New Year and seeing what films are on the box (the same we have watched a dozen times before!). We forget about Christmas so soon but enjoy the build-up so much – I guess it is about the intensity of the day itself and wanting to cling to it. We are hearing, more and more, Christmas tunes filtering through P.A. systems and infuses/infesting our shopping; radio stations changing their playlists - and all those ‘classics’ getting back into the ears! With that in mind – and not wanting to sit this out like Scrooge – I have scoured the Internet for the best Christmas tracks, new and old, that should get you into the mood (if, hard to imagine, you are not already!). Those who are not quite buckled and primed for Christmas; apologies: those who could do with hearing a round of the festive standards – and the rare cuts we do not often hear – here is a playlist, I hope, will cause more cheer…

THAN misery.

FEATURE: Guess Who? The Importance of Social Media Visibility

FEATURE:

 

Guess Who?

ALL PHOTOS: Unsplash

The Importance of Social Media Visibility

________

SOMETHING rather unsettling has been catching my eyes…

the past few weeks (or not, as it turns out!). I am putting together a (five-part) feature regarding the artists to watch out for in 2018. It has been interesting surveying music and collating those, I think, will be a big deal next year. One of the things that has perplexed me is the disorganisation and lack of visibility from some artists. Not only are their social media pages jumbled and fractured – there is not a lot of information on Facebook or links to all their other sites – but they are missing out options like Twitter. In fact; I have encountered a number of musicians who are on, say, BandCamp, but do not have a Twitter profile! I wonder whether people are unaware of the potential and necessity of having a Twitter account. In personal terms; if it not necessarily crucial and all that helpful: when it comes to music, it is absolutely essential! I am confused why any artist who wants to get anywhere would ignore the importance of Twitter. If you want to get people investigating your sounds – and checking out your movements – then you need to consider every social media outlet and streaming site. For any artist; these sites are an absolute must-use: Twitter, Facebook; SoundCloud, YouTube and Spotify. I would also suggest BandCamp and Instagram – they are all free and easy to use. Given the fact it is easy to set up an account (on each) and get started – I wonder why artists are neglecting them and assume they will be okay?!

I can understand why they would negate BandCamp, for instance, as it is very similar to SoundCloud. It is a more visual equivalent and reaches a different audience but you can exist with one or the other. Spotify is key because that is where a lot of the focus is. You can get big streaming figures and push your music to a huge audience. Playlists are a good way of joining forces with other artists and promoting their music – they, in turn, can feature your music on their playlist. Many take advantage of Spotify by featuring artists on a playlist in the hope that reciprocating boosts their current single. It is shrewd, for sure - but this site is as much a marketing tool as a great way of discovering good music. Whilst I am not a fan of the obsession labels and artists have with the site – putting everything into numbers and taken an obsessive business-brained approach to music-making – but I use it a lot when collating my weekly feature (where I pull all the new music out that week). Spotify is a great way of getting your music out in the same way, traditionally, SoundCloud and BandCamp are. Many might say having three similar-themed sites is a bit excessive. There is no such thing in music excessive coverage and attention-to-detail. If you put all your links on a Facebook page – so one can easily link to all of them – that will impress journalists and fans. I like the fact many artists are still using BandCamp and using it alongside other music-sharing sites.

SoundCloud survived a bit of a financial/survival wobble recently but it is, in my mind, the best site to stream your music on. You do not have to pay to use SoundCloud and it is a simple and easy way of playing sounds. If you have that full coverage of Spotify, BandCamp and SoundCloud then it means your latest release has greater potential and you can reach more people. YouTube is the other essential site you need to get involved with. There are very few sites where you can upload video (as opposed to audio) and it is, again, a free site. I love YouTube – now I have installed AdBlocker and do not have to suffer nauseating adverts with every video – and it is another indispensable site for all musicians. Everyone, at some stage, will produce a music video and YouTube is where it will go. Even if you have released a song (minus a video) you need to get it up on YouTube. The more sites you consider then the likelier it is people will find your current cut. Now that we have things cemented regards the audio side of things: why are so many showing little attention when it comes to social media?! The ideal set-up, with regards any artist, it to have a Facebook page that houses all your links. The same applies if you have an official site – another great thing to think about – that, where you write about yourself, have a link to EVERY social media/streaming/sharing site.

You would not believe the number of artists who are covered on all sites but, on Facebook, it only lists their Instagram and SoundCloud. I then have to go to SoundCloud to discover all the other sites they are on. There is laziness and disorganisation creeping into artists’ pages. If you sent someone a C.V. and missed out your employment history – but had it listed it on LinkedIn, for example – that is going to annoy and confuse a lot of people. It takes very little time setting up these accounts: it takes even less time putting links/hyperlinks, in a single place, so one can easily navigate and discover. I have mentioned official sites but, even if you have one and put all your links at the bottom of the homepage (all in a neat line for ease of access) then it is prudent putting them onto Facebook. When looking for new musicians; I instantly head to Facebook – it might not be obvious a band/artist has an official page. In a market where visibility and promotion are paramount considerations; I am finding too many with insufficiently tall totems. Their house is short and structurally fragile; bits of wood hanging out of the sides and glass rattling in the breeze. If you want to get your music out there and ahead of the competition – ensuring these things are considered BEFORE you get started is essential. I shall move on to information and visuals at the end but, just before…a word about Twitter.

I mentioned how some artists are not setting up Twitter accounts. Even if you do not have a lot to say at this early stage; it seems odd not to have an account set up. I find it is a much more effective tool when promoting music and finding music. From my perspective; most of the attention and success I have gained has been because of Twitter. You can share a post or song and it can reach so many people within seconds – from there, others can share and get to new audiences. Loads of artists on there have only a few followers (a couple of updates and bits of information) but I have seen some upcoming, popular artists on Facebook but not Twitter. It does perplex and grate when you consider how tough music is! Artists who ignore Twitter are overlooking a tool and device that can get them more fans and put them in contact with record labels, radio stations and who knows what else. I can publish a post, put it out to the Twitter-verse and others share it with their followers. It is such a slick and simple way of pushing work out and promoting your stuff. Whilst it does not have the same functions as Facebook – chat and messenger; as a deep a profile and an easy-to-manage timeline; it is essential for every musician who wants to get their music heard and shared. Maybe there are personal reasons why artists are ignoring Twitter but it would have to be a pretty good one, you’d think?!

There are others, too, that are on Twitter but have hard-to-spell/remember handles. If a band/artist has a common name – shared by a few others – they need to differentiate themselves, I know. There are others who have original names but create weird and tricky names. If, for example, your band is called 'Meathook'; then why would you have your Twitter handle as ' @WeAreMeatHook'? If there are no other people with the same handle, then take advantage! I will search the band using the obvious letters (i.e. their name) so, unless I put it into Google and get lucky with the search results; there is a chance I might needlessly miss out on them – the same applies when looking on Facebook. Others put underscores for no reason and have common names – that is its own demon. There is a wealth of choice regarding names so why would an artist/band choose something common and simple?! It makes the job of locating them extra-hard and can be impossible, at times, to find them on Twitter/Facebook. Making things simple for fans/radio station etc. is paramount in this game. If I have to try endless variations to find an artist – I have heard on the radio – then my attention will wane and it becomes frustrating. In any case, there is a cardinal rule for every musician: get on Twitter and make your handle easy-to-remember and as economical as possible...

Whilst it is important to ensure you have all your streaming/social media/sharing sites set and ready to go; it is crucial, when they are online, to give the consumer something to read. I have laboured this point to death but there are too many who feel giving minimal exposure is a good way of staying mysterious and focused – it is all about the music and why would anyone need to know their life-story?! Those ‘perfect’ artists have all their links in one places and a collection of images (I shall end on that) and, where it asks for a biography, it gives some information. You can put in press quotes and a bit about yourself; what genre you play in and where you are located. You would be stunned by how many artists do not say where they are from and leave you to piece it together. If they are a great Nottingham-based artist and I am writing a piece about great Nottingham acts – I will ignore them and not realise the fact. It is small things like this that need to be figured out. It is not an effort to put that on the page and will lead to more opportunities down the line – venues near you contacting and journalists better-informed. The biography does not have to be an epic read but, if a journalist sees no information, then what are they going to write about?! I look for reviews on the strength of where they are from and what they are about. If there is only the music, then I am very limited with what I can discuss.

Photos are the last thing I shall discuss and is another important thing to consider when looking at visibility and identity – one of the most important. It is a subject that keeps coming to mind because so few people are adequately providing photos. I have current interview subjects who have sent photos that are terrible quality and blurred; others that are microscopic. If you are approaching a journalist and want your music featured; they are going to need a few photos at the very. These images need to be good-quality and not be blurred. How many professional interviews do you see published where the photos are grainy/inferior or blurred?! You would not see that with an artist like Beyoncé or Eminem so why would any other artist feel that is okay?! Cameras are not bank-breaking and technology means you can take great-looking images on your phone without hassle. I have an iPad and can produce some shots in minutes that are clear and concise. Why artists are unable to do this is beyond me. There is a shoddiness and lack of respect when you get sent some poor and amateur images. The fact the person/people have not done any research is annoying enough – assuming I am a tiny blog who is lucky to have anyone approaching me for work!

There are bands/acts who have a load of images/photoshoots which is really appealing for the journalist/fan. I understand a professional shot can cost a bit of cash – so it is beyond the reach of most – but it is something, like an official site, that everyone should think of. It makes the music/profile look more professional and lures people like me in. I am going after artists with great photos on social media because, along with great music, it affords my site that visual edge and look of class. If I find an artist with great music, but a few grainy or sub-standard shots, I am not going to feature them. It is nothing personal - but there needs to be at least a few decent shots available. Very few sites will use one photo: they will want a choice, at the very least. Not only do photos mean the chance of a review or interview is more likely: it shows an artist is more open and thinking about music from all angles. If you have a social media site that has no information, few/no photos and updates here and there – how many people will stick with you? I know people capture images on phones that are blurry/grainy but you need to consider journalists etc. who want something higher-end and clear – that they can show off and share on social media. More galling than those who have very few/no good images are those with none at all!

What rational and sensible-minded artist comes into music and assumes the audio side of things is enough – who need to put a face to the music and bother with all that?! If you have the finance and resourcefulness to find recording equipment one assumes the same applies to photography?! It is great if you have utter confidence in your music but the industry relies on visuals as much as it does audio – if you want to get your face/music beyond social media then you need to consider putting images up. In the first instance – the debut single and first year in music – maybe six images would be the minimum (at least four of them at a near-professional standard). This is not going to be expensive and makes a good impression on those seeking out your stuff. It might be a lot to take in but artists need to make a checklist when they start out – or they can start one when they are underway – that covers images, social media and visibility. If people have to work hard to find the music/artist then that can cause a huge dent. If all these small measures are considered, it gives you an advantage and means fans, journalists and interested parties will come your way and invest in your music. Those who feel a causal and lackadaisical approach to promotion/business is a good way of doing things can easily find themselves…

OVERLOOKED and forgotten about.

FEATURE: Ones to Watch in 2018: Part IV: Before the Final One (Mostly British)…

FEATURE:

 

Ones to Watch in 2018:

 IN THIS PHOTO: Oh Wonder/PHOTO CREDIT: Getty Images

Part IV: Before the Final One (Mostly British)…

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THE final part of this feature…

IN THIS PHOTO: Pale Seas/PHOTO CREDIT: Julien Bourgeois

will round up those artists you need to get involved with next year. This instalment unites musicians from North America, the U.K. and beyond – with a British bent – and has a nice sonic spread. It has been fun listening to and investigating some great acts, I feel, will do great things in 2018. Have a look at the rundown and, I am sure, there will be some acts in here you will want to add to your regular rotation!

ALL PHOTOS (unless stated otherwise): Getty Images

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Matt Hartke

Genre: Singer-Songwriter

Location: New York, U.S.A.

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

Twitter: https://twitter.com/MattHartke

Jazz Mino

Genre: Electro-Pop

Location: London, U.K.

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

Twitter: https://twitter.com/Jazz__Mino

JONES

 PHOTO CREDIT: Josh Shinner

Genre: R&B

Location: London, U.K.

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

Twitter: https://twitter.com/iseeJONES

Pale Seas

PHOTO CREDIT: Hollie Fernando 

Genre: Alternative

Location: Southampton

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

Twitter: https://twitter.com/paleseas

YONAKA

Genre: Power-Pop

Location: Brighton, U.K.

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

Twitter: https://twitter.com/weareYONAKA

Van T

 PHOTO CREDIT: big red photography

Genre: Alternative-Folk

Location: Cape Town, South Africa

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

 Twitter: https://twitter.com/ChantelvanT

Charlie Says

Genre: Alterative-Rock

Location: South Wales, U.K.

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

Twitter: https://twitter.com/charliesaysband

Heir

 PHOTO CREDIT: Portia Hunt

Genre: Pop

Location: Leeds, U.K.

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

Twitter: https://twitter.com/heirtheband

Late Night Legacy

Genres: Rock; Blues; Funk

Location: Leeds, U.K.

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

Twitter: https://twitter.com/LNLegacy

Pinkcaravan!

Genre: Rap

Location: St. Louis, U.S.A.

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

Twitter: https://twitter.com/pnkcaravan

Clairo

Genres: Electro; Alternative

Location: Boston, U.S.A.

Follow: https://www.facebook.com/clairecottrill2/

Twitter: https://twitter.com/clairecottrill

Bleek Noir

Genres: Alternative; Noir

Location: Leeds, U.K.

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

Twitter: https://twitter.com/bleeknoir

HEZEN

PHOTO CREDIT: Isaac Murai

Genre: Electronic

Location: Paris, France

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

Twitter: https://twitter.com/sarahezen

Jade Jackson

Genre: Alternative

Location: California, U.S.A.

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

Twitter: https://twitter.com/jadejacksonband

The Luck

Genres: Indie

Location: London, U.K.

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

Twitter: https://twitter.com/theluckmusic

Vanessa Forero

Genres: Folk; Alternative

Location: Brighton, U.K.

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

Twitter: https://twitter.com/vforeromusic

Oh Wonder

Genre: Alternative

Location: London, U.K.

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

Twitter: https://twitter.com/OhWonderMusic

Dumb Lovers

Genre: Pop

Location: Bournemouth, U.K.

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

Twitter: https://twitter.com/dumbloverslove

Joshua Luke Smith

Genre: Hip-Hop

Location: Bath, U.K.

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

Twitter: https://twitter.com/JoshuaLukeSmith

Equals

Genres: Soul; R&B

Location: London, U.K.

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

Twitter: https://twitter.com/theequals

Sonia Stein

Genres: Pop; Alternative

Location: London, U.K.

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

Twitter: https://twitter.com/SoniaSteinMusic

FEATURE: Sometimes, We Will Rise: How the Bravery of Musicians Has Inspired Me

FEATURE:

 

Sometimes, We Will Rise:

 PHOTO CREDIT: Unsplash

How the Bravery of Musicians Has Inspired Me

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THIS will be a short one…

IMAGE CREDIT: Polly Crossman

but, in the final days of the year, I will piece together a few features, interviews and reviews. I will put up, say, three more reviews (and as many interviews as come back to me); a selection of features by next weekend - maybe nine or ten before this time next week - and look back on a very changeable year. I have appropriated an image, and part of the feature title, from someone who (for The Pool) wrote about her terrible time of late - and how the poem Sometimes (by Sheenagh Pugh) provided guidance and reflection. The first verse of the poem contains these words:

“Sometimes things don’t go, after all/from bad to worse. Some years, muscadel/faces down frost; green thrives; the crops don’t fail. Sometimes a man aims high, and all goes well”.

In a few days; I will write a piece (non-Christmas-themed) that looks at how addiction and depression have claimed some great artists. It sounds like a depression thing to bring up but my interested is purely rational and scientific. I want to find out why so many musicians are turning to substances and whether there is a viewpoint and culture in music that sees drug-taking as acceptable and sociable – something that aids creativity and helps you bond with peers.

 PHOTO CREDIT: Unsplash

I was struck by the article because, not only did the writer find inspiration in the poem’s words, but it provided a chance to look at the issues and problems she faced and look forward to a better future – realising hope is out there and things can change. I am not giving to so-called ‘inspirational messages’ but realise words like we see above (from the poem) can be extrapolated by people going through a variety of situations. For me, when reading those words, it proved nourishing and humbling. It has been a hard and bad year for me in a number of areas. My job is a place I hate visiting and feel hopeless and lost there; the fulfilment I get from writing is minor (in time) compared with the necessity of work. My love-life is, well…non-existent and it has been a stagnant and unspectacular year – although, there have been some benefits and highlights! I will ponder more in a couple of weeks (as I look ahead to 2018) but there have been some moments of light among the fogginess. An appearance on Radio 5 Live and a recent chat with Matt Everitt has provided impetus and useful insight. Whilst it has been a rather topsy-turvy year for me, for musicians I know, they have had to undergo a lot and face challenges every step of the way. Not only have they had to work relentlessly to get their music out there: balancing that with day-to-day life adds extra pressure and strain.

 PHOTO CREDIT: Unsplash

I have seen so many posts – from various musicians around the world – expressing their sadness, strain and confusion. Whether personal issues have infested their professional life; the demands of the music industry taking its toll; the lack of appreciation and commercial success shattering illusions and dreams – I have witnessed a lot of people tackle bad situations with resilience and aplomb. It takes me back to that poetic verse and the fact we cannot always predict circumstances and things are not always obvious or lost. Just when you think everything is down and defeated: things can turn around and come through. There are no easy fixes and small good fortune does not change everything for the best. I have been enriched and motivated by musicians and the fantastic work they have put out in 2017. It has been a changeable and uncertain year on the world’s political stage and that, combined with our workaday strains, has placed a huge weight on the shoulders. I understand and appreciate how hard a career in music is and how hard people work. Mere words cannot limit any bad elements that come into our lives - but knowing seasons can change and things can work out should provide us with the strength to carry on. I cannot express my thanks in mere words with regards the musicians and artists who have provided me purpose and direction. The fact they have produced such stellar music means I have been able to grow as a person and find something to look forward to.

 PHOTO CREDIT: Unsplash

The end of any year, inevitably, puts us in a more pontificating and reflective mood. We assess how far we have come and what we can achieve in the year to come. I am in that position where I am weighing up the good and bad and deciding whether I have made real progression. Although I have made professional steps; I feel my personal life has failed to evolve at an appropriate and acceptable rate. I know many musicians have high expectations and will measure their success in numbers, streaming figures and airplay. This is the way music is and I can understand why many reduce success/failure to numbers. That is the stigma and disadvantage of the digital age: everything is numerical and business-like. We all have high hopes and want the very best for ourselves. If we do not live up to unrealistic standards then we deem ourselves failures! Many people I know have had to tackle depression, anxiety and personal problems; lost love and career downshift. I have been refreshed and compelled by the music I have heard and stunned by the ambition, determination and fortitude of the hundreds of artists who have made their way to me this year. I do not plan on slowing down in the final days of this year and look set to tackle more in 2018. It is only because of the musicians I encounter I am able to have this attitude and energy. There have been hard times (for us all) but it is the way we face them and rationalise the negative times that make us who we are. I am appreciative of the fantastic musicians who have given me the strength to go on and sympathise with those who have experienced struggles. To all of them out there, I have this to say:

 PHOTO CREDIT: Unsplash

KEEP going strong and be proud of yourself!

FEATURE: Northern Sky: Melodies Beneath a Cold Horizon: How Music Can Help the Homeless

FEATURE:

 

Northern Sky:

 IMAGE CREDIT: ThingLink

Melodies Beneath a Cold Horizon: How Music Help the Homeless

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CHRISTMAS provokes a number of images…

PHOTO CREDIT: Scribbletaylor (Flickr)

and emotions in the average person. We all have that image of families gathered around a warm fire and presents stacked underneath the tree. There is the table teeming and blossoming with food and drink; the distant sound of carols and the T.V. flickering in the background – I am making it sound somewhat Dickensian, but you get the point! I want to raise a bittersweet point that has a musical component – but is aimed broadly at everyone who walks the street. Many musicians hit the streets this type of year to busk and get some pennies together for last-minute presents. Many rely on it for their income and need that injection of cash (hoverer modest) to pay the bills. It is a sad climate but there are few buskers out there who are beyond the remit of a traditional job and benefits – at the very worst; they have a home to go to and a warm bed to sleep in. It is a hard life being a musician but there are few out there who are so desperate they need to rely on busking to get any money in. My point is not to illuminate the tough industry and how hard many have to work to survive: I wanted to illustrate how music can benefit those in desperate need this time of year. It may be a direct form of performing to them or raising money to help them get back on their feet. The afflicted group I am side-stepping around is the homeless.

PHOTO CREDIT: Getty Images

That may sound rather insensitive but that seems to be the common approach to the disadvantages who bunk-down in doorways and have to brave the sub-zero temperatures we experience this time of year. Even in a warmer month; the dangers associated with sleeping rough are insane – and the risk of injury/death is immense. The average person sleeping on the streets is exposed to verbal and physical abuse; the scorn and snootiness of the public; they look for donations and food but are often greeted with ignorant and an imperious countenance (translation: people can be complete c*nts). This plight has come into sharp focus because, where I live, there is an escalating problem. Many are losing their jobs and homes and find no recourse but to survive on the streets. They are often armed with little more than a rudimentary sleeping bag and a few meagre possessions. Throw into the bargain many have dogs – who are on the street with them – and it tugs at the heartstrings and angers the blood. It is not exactly a humanitarian crisis but there is an ill that needs addressing by the government. I walk around the streets of London (and Brighton) and see many homeless seeking the kindness of strangers; looking unwell and malnourished. It is upsetting not being able to help with any sufficiency – you cannot give money to all and there are so many out who sleep rough; you’d need to monitor them and continuously give them money – and seeing so many people treated like rubbish.

PHOTO CREDIT: Getty Images

The discarded and alienated are being given little respect and consideration; seen, by our elected, as non-entities and insignificant specs in their great plan. Although you cannot give attention and welfare to every person out there: one would hope the growing rise in homelessness would worry those who are being accused of dividing the nation. The recent tragedy at Grenfell has seen many of its residents left without a home and banished to the streets – this is a problem that persists and has garnered a lot of angry protests and vitriol. Before I come to the music-related point behind the issue; I wanted to bring in some statistics:

“More than 300,000 people in Britain – equivalent to one in every 200 – are officially recorded as homeless or living in inadequate homes, according to figures released by the charity Shelter.

Using official government data and freedom of information returns from local authorities, it estimates that 307,000 people are sleeping rough, or accommodated in temporary housing, bed and breakfast rooms, or hostels – an increase of 13,000 over the past year.

London, where one in every 59 people are homeless, remains Britain’s homelessness centre. Of the top 50 local authority homelessness “hotspots”, 18 were in Greater London, with Newham, where one in 27 residents are homeless, worst hit.

However, while London’s homeless rates have remained largely stable over the past year, the figures show the problem is becoming worse in leafier commuter areas bordering the capital, such as Broxbourne, Luton, and Chelmsford.

PHOTO CREDIT: Getty Images

Big regional cities have also seen substantial year-on-year increases in the rate of homelessness. In Manchester, one in 154 people are homeless (compared with one in 266 in 2016); in Birmingham one in 88 are homeless (119); in Bristol one in 170 are affected (199).

Polly Neate, chief executive of Shelter, said: “It’s shocking to think that today, more than 300,000 people in Britain are waking up homeless. Some will have spent the night shivering on a cold pavement, others crammed into a dingy hostel room with their children. And what is worse, many are simply unaccounted for.

“On a daily basis, we speak to hundreds of people and families who are desperately trying to escape the devastating trap of homelessness. A trap that is tightening thanks to decades of failure to build enough affordable homes and the impact of welfare cuts”.

That gives you every piece of information you need: if you think homelessness is reserved to the capital and a dying sensation; you have food for thought and plenty of contrary information. One can barely imagine the stresses and pain someone on the street goes through. They have to beg for every meal and are exposed to devastating cold and the severity of the elements. There are kind members of the public but so many see the homeless as a cancer that needs to be eradicated. Many are dying in this weather and it brings it into sharp focus this type of year. Whilst many of us are enjoying time off and preparing for a feast over Christmas: in certain parts of the country; there are many who will go without and spend Christmas Day depressed, alone and forgotten.

Look at this article - and it seems shocking that countries like Finland have no homeless at all:

“The country has eliminated homelessness through its "housing first" policy which offers people who need them permanent places to call home.

Following its success in the Scandinavian country, the scheme is about to be trialled in Liverpool, Manchester and the West Midlands”.

The fact that scheme is being rolled out in various parts of the U.K. is encouraging to see, at least. There are few practical measures the average person can do to cure homelessness and safeguard those rough sleepers where they live. I have been thinking about charitability and how Christmas, you’d hope, brings out the best in people. I am not embroidering the feature and painting the streets in any negative terms – the reality is stark and there need to be more affirmative and productive action. Musicians are a conscientious and communitive group - so it seems artists who willingly take to the streets to perform music can spend some time playing for the homeless. I see a lot of buskers round my way who are a few feet from homeless people. Whilst neither has a huge crowd around them; it seems there is something therapeutic about music. I am not suggesting every busker can make every homeless person happy all the time – and they would want to, indeed – but few people on the street get the chance to hear music and have people reach out to them.

I am not naïve enough to think music has curative powers and can shine a light that washes away the problems of homeliness. Music has its benefits and my unhappiness regarding the rise of homelessness leads to a need for people to come together and address the issue. I know there are benefit gigs and great charities out there (like Shelter) that raise funds and awareness to help ensure more people have somewhere to shelter. Whether that is a vital campaign or a series of concerts: musicians are a lot more moral and responsible than those we have elected to run the countries. I know people who actively get out on the streets and help the homeless. They provide money and comforting words; they provide a shoulder and do their bit. It is a commendable approach and I wish more people took the same attitude. I feel music alone has the ability to bring people together and something as simple as performing to a homeless person can make a huge difference. Musical donations go a long way so that long-abandoned C.D. Walkman or a radio can improve their day exponentially. My words do not arise out of personal guilt and privilege but the awareness there is a casual ignorance and divide when it comes to the better-off and poorer in society. My long-term aim, like every decent human, is we see an end to homelessness and accommodation offered to those in dire need. We are keen to over-populate the world and bring children into the world like rabbits – selfish in a way to think people procreate so provocatively without considering those who live here already!

PHOTO CREDIT: Getty Images

It is troubling seeing so many having to live on the streets and being ostracised by society. Music is not responsible for that problem but, rather than mourn and attack the government, we can recognise how small gestures, with a musical component, can make a difference in the life of a homeless person. Whether that is a busker providing some of their time; people donating their radios and older equipment – so that a homeless person can play the radio over Christmas – or organising concerts (alongside charity-run endeavours) to get funds together so we can help people find accommodation and make a better life for themselves. The same way I propose charitable movements and organisation to help counteract a disadvantage in society – I suggest minds are put together so we can help tackle homelessness. The charities out there are doing great work but the fact countries like Finland have found a solution (of sorts) means we are lagging behind. I have been shocked by the callous disregard many afford the homeless; how we do not even make eye contact and shun their pleas for time and affection. They are not trying to scam us (some are there to get money and not homeless; most are there because they need genuine help) and the fact most of us are going to spend Christmas in comfort should not be taken lightly. Any way musicians/musical-thinking people can assist this winter – as the nights get colder and crueller – will make a big difference. The passion and pride musicians have can certainly help and I think we all need to be a bit more aware of the problems we find on our streets. As we all prepare for familial and exciting Christmases; reflect on those less fortunate who will spend the big day on the streets and…

PHOTO CREDIT: Franco Folini

SPARE a thought for them.

FEATURE: The Needle and the Damage Done? Is the Cost of Vinyl Putting People Off?

FEATURE:

 

The Needle and the Damage Done?

 PHOTO CREDIT: Unsplash

Is the Cost of Vinyl Putting People Off?

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MY love for vinyl is endless…

PHOTO CREDIT: Getty Images

and something that will remain to my dying day! I have requested a certain record by The Beatles on its true form; if/when I get Amazon vouchers for Christmas – that is also going to go on records, too (Jack White, Beastie Boys and Madonna among them). I can get all spiritual/wanky and say I started my musical ‘journey’ with vinyl – lest I vomit blood at the mere suggestion! – and it was the legends of the 1960s that hooked me into music. I know that would be a lie because my early experiences of music were n cassette and slight less-cool artists. Maybe I am starting to sound like a broken record – maybe I have used this title before – but it is a subject that comes back to my mind every day. I prefer music on vinyl and the way it always was. I will bring in a couple of competing articles that investigate the price of vinyl and whether it is too expensive. There is something unavoidable about records and the price we may. A record itself if a large thing and, with a sleeve and all that physical wonder; something you cannot easily put in your ears or carry around in one hand – unless you want to do yourself an injury! You look at a single L.P. and it is a lot of material you have there! I think people buy vinyl for a number of different reasons. There is the feeling of possession and pride one would not get from a C.D. or digital music.

IN THIS PHOTO: The cover of Antwood's album, Sponsored Content/PHOTO CREDIT: Getty Images

You can buy yourself a record bag/box and store all your L.P.s together. It is fun flicking through them; reading the sleeves and taking that record in hand – feeling all the work that goes into it. You can pick up a C.D. and feel they are quite expensive. Even if you shell out a tenner on a new album – that can seem like a lot of money for something so small and fragile! Vinyl, amazingly, seems more durable and fortified – despite the fact it is a lot older and more basic. We love the community of going to a record shop and standing alongside others; people who have the same passion and curiosity. We all hope we’ll come across that long-forgotten record or a gem we had forgotten about! Even if you buy your vinyl at a multi-national chain; there is the pleasure of browsing the genres and dreaming about a (very) full shopping cart! It is one of those rare pleasures in life: who would deny a true vinyl-head that pleasure?! I guess there is that need to preserve a record and keep it for years; something you can pass onto people and share. I know digital music is the way forward and it seems a lot more affordable than, say, a double-L.P. that might cost you a day’s wages. A lot of people are streaming music and often picking odd songs rather than a full album. Are we burning those who want to appreciate music in a more aesthetic and pure format?!

PHOTO CREDIT: Unsplash

With consumers opting for songs rather than complete albums, it makes me wonder whether vinyl is past its time and a relic. That is nonsense but should we see prices go down?! I look in shops like HMV and you can find a vinyl from a current chart act coming in perilously close to £20! I was looking at a couple of articles published last year – during a time when vinyl was starting to come back in and challenge the dominance of electronically-sourced music. NME  mooted the fact vinyl might get cheaper:

“As reported by The Vinyl Factory, a new pressing technique pioneered by Dutch manufacturer Sycomen, will not only increase production efficiency, but could be set to slash prices as well.

At the moment, steam is used to heat up the PVC (vinyl) puck, which is then pressed between two large stampers to create the record. The use of steam provides some wear and tear on certain parts, meaning that the stamper can only be used for roughly 1,500-2,000 records before it needs to be replaced.

Sycomen’s new injection moulded technology doesn’t use steam at all. As a result, they claim that the technique will reduce energy costs for manufacturers by 65 percent, due to reduced pressure on the stampers ultimately meaning that machinery will last longer.

As the parts become more durable and maintenance on the machines are reduced, Sycomen reckon that it means that the timeline for pressing records can be reduced from an average of 16 weeks down to two. Essentially, it’s making the whole production flow cheaper and more efficient.

 IN THIS PHOTO: The cover of Object Collection's album, It's All True/PHOTO CREDIT: Getty Images

If successful on a large scale, the cost-saving technique will mean that suppliers can meet the surging demand easier and will make the entire production cheaper overall, something which will hopefully be reflected in the retail price of records in your local shop”.

Over in Canada; another article argued why vinyl is so expensive:

“Alex Durlak co-founded Toronto independent label Idée Fixe (home to Jennifer Castle and Bry Webb), whose latest release, Bart’s Holomew, features gorgeous embossed and foil stamping for its packaging and still only costs $17.

“Making vinyl is expensive, there’s no question,” Durlak says. “And, sure, the Canadian conversion on the dollar hurts. But my understanding is that overall costs have not increased. I do think you have major corporations thinking, ‘Oh look, people are spending money – let’s reissue the Beach Boys catalogue again!’ That stuff is definitely overpriced purely because people will pay for it.”

Last year in Canada, vinyl sales totalled 517,400 units, a jump of 30 per cent over 2014, according to Nielsen. (Some perspective: the top seller, Adele’s 25, scanned 6,200 vinyl copies compared to 622,000 CDs and 238,000 digital.) It’s hard to imagine companies choosing to piss off vinyl-loving customers with flagrant price-gouging, yet several store owners confirmed off the record that some distributors have increased the wholesale price of certain titles by as much as 100 per cent. It’s hard for shops to sell a record for $30 when it costs them $40.

PHOTO CREDIT: Getty Images

“I don’t price on margins. I try to make $10 on new stuff,” says Trevor Larocque, co-owner of the Tiny Record Shop, a vinyl-only store specializing in rare vintage records that also stocks the latest. “So if it costs me $19, I sell it for $29.99 and I’m fine. If my cost goes up to $40 for a record, I have to sell it for $50. I still make money, but it’s not as fun, and people aren’t as happy when they leave the store”.

Like every product out there; it costs money to make it and the material is not cheap. There has been that years-long argument whether C.D.s are too expensive and could be lowered; if digital music is compensating artists fairly – and whether more people should pay to listen to songs on sites like Spotify and YouTube (the former does offer a subscription but there is the option to pay). I am concerned one of the reasons many are hand-picking songs – rather than enjoying albums in their fullest – is because of the prices. If you can get a song for a lot less than a quid; why would you splash out on a vinyl that can run you in the neighbourhood or a decent lunch?! It is strange to see because, in 2016, there was great news regarding vinyl sales:

“Sales of vinyl in 2016 reached a 25-year high as consumers young and old have once again embraced physical formats of music.

PHOTO CREDIT: Getty Images  

More than 3.2m LPs were sold last year, a rise of 53% on last year and the highest number since 1991 when Simply Red’s Stars was the bestselling album. This was also the first year that spending on vinyl outstripped that spent on digital downloads”.

A lot of those sales, I suspect, were older albums being re-appreciated and treasured. There was the benefit of seeing smaller labels and artists benefitting from the boom. I can understand why people would lure after records. You have the artwork – one of the reasons I have scattered various images through this piece – and are purchasing something fantastic. Whereas streaming services seem best for those who want music on the move: vinyl is for those who want to linger and study their music; who appreciate what it means and how important the feel and texture of an album is. I still find, despite the resurgence, many are being put off by the high prices. There are great record stores out there where you can find used vinyl. If lucky; you might be able to purchase a classic for a cut-down price. That is another reason to go crate-digging: discovering something genius for so little money! Although the last couple of years have seen people preserving the honour of vinyl: how long before the relative affordability of digital music swings the balance back the other way?

 IN THIS PHOTO: The cover of Arca's album, Arca/PHOTO CREDIT: Getty Images

With so many independent record shop going out of business, soon, the only areas we will get records is online or through major chains. The bigger bodies do not have any reason to lower prices; they will not sell vinyl second-hand so people can experience a record without breaking the bank. You can go on sites like Amazon but, as an example, I found a few problems. For a start; vinyl is rarer than C.D. and digital – many albums or either unavailable on vinyl or there are fewer copies. If that is the case then the consumer is vulnerable to a financial spanking. I was fantasising about Christmas and which records I will spend my money on. I looked for Jack White’s Blunderbuss and Lazaretto and, whilst the latter was unavailable, the former ran in at quite a cost! I managed to find Beastie Boys’ Paul’s Boutique at a good price but the average cost of most albums I looked for was between twenty and thirty of my English pounds! For an album you want to play/keep for years; that seems like a pretty good price, no? It is a good investment but, unless you can afford to buy it in the first place, it is hard to accrue a record collection! I have often wondered whether there is a way of making vinyl more affordable for those who want to acquire a serious tally!

IMAGE CREDIT: Getty Images

There are vinyl clubs where you can order the latest releases – they are expensive and not a long-term solution to the issue. If, in the way you had record clubs years ago, you could order a record and have a series sent to you at a reduced cost. Those who used to participate in the older schemes found issues where they were tied in and it was a little too good to be true! It would not force a subscriber to order a minimum amount – and spend the same amount of money they would have done usually – but it would give the music-lover vinyl at the minimum cost. If one were to guarantee a certain sale – ordering a few dozen records over a few years – then it would not put off labels and artists. I feel the price of vinyl is so high because it feels the financial strain when matched against streaming services. People are worried many are getting music for free so, in order to recoup some of the losses; they keep the price high and can salvage something. I feel there is a danger many will flock to the Internet if the prices remain high and there is no negotiation. A way of conserving the fanatical vinyl-loving community is priceless and needed. There are those who will never abandon their church but I feel the ‘flock’ will snap up fewer records than before – preferring second-hand ones and desperately trying to keep the record stores open.

PHOTO CREDIT: Unsplash

I love record shops but I know many will close in the next few years. Most of the vinyl we purchase is on the Internet and it is the most convenient and dependable outlet. Getting together a legitimate and solid club/site for those who want to keep their tastes vinyl should be on the minds of many out there. We have seen a rise in vinyl sales but there are many who cannot afford to buy a decent and traditional L.P. – they are flocking to Spotify and fancy that less expensive route. Christmas is a time when many of us are (luckily) gifted vinyl and will be enjoying it for years to come. The downside is we will get hooked and want to go out and buy a load more records. I am in that position and have a wish-list of about six or seven. That list will cost anywhere between £100 and £130. I can get those albums on C.D. for nearly half the price and even less on streaming sites. We should encourage future generations to stick with vinyl and mix it with a diet of digital sounds. If the prices remain high – and record shops dwindle and disappear – then there is that danger vinyl will become near-obsolete and a niche item (affordable and needed by older listeners and those with more cash). I am not the only one who wants a remedy to the malady we are faced with: the continued favour and augmentation of vinyl records is one of the best thing about modern music. I understand there are processes and costs involved with manufacturing but I question whether vinyl is needlessly marked-up and aimed at huge profitability. Are those who love their music physical being cheated and exploited? Are there ways we can lower the cost of vinyl and keep everyone happy? Is it a losing game by fighting for the honour of a record? More discussion needs to occur so we can promise those growing up they will be able to collate a decent and inspiring record collection…

PHOTO CREDIT: Soundudes

WITHOUT breaking the bank.

FEATURE: Ones to Watch in 2018: Part III: Who Dares, Sings

FEATURE:

 

Ones to Watch in 2018:

 IN THIS PHOTO: Jacob Banks/PHOTO CREDIT: Getty Images

Part III: Who Dares, Sings

________

EVERY time I compile a list like this…

IN THIS PHOTO: Jessica Murae/PHOTO CREDIT: @jasminefarram

it gets me thinking about the diversity and surprises music offers. In this selection; I have brought together some of the most promising new talent from around the world. Here, there are more European and Australian artists; a range of British and North American acts – ranging through the genres and tackling myriad sounds.

I hope there is something in there for everyone – one would imagine so – and there is something that catches the ear. Here are some artists, I feel, will do some great things in 2018; make some big waves and get their music to the masses…

ALL PHOTOS (unless stated otherwise): Getty Images/Artist

_________

Blushes

Genre: Indie-Rock

Location: Buckinghamshire, U.K.

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

Twitter: https://twitter.com/blushesband

Brooklyn Doran

Genre: Folk

Location: Toronto, Canada

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

Twitter: https://twitter.com/brooklyndoran

Kelly Oliver

Genre: Acoustic-Folk

Location: Hertfordshire, U.K.

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

Twitter: https://twitter.com/KellyOliverUK

Gabriella Cohen

PHOTO CREDIT: Jared O'Sullivan

Genre: Alternative

Location: Melbourne, Australia

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

Twitter: https://twitter.com/gabriellaacohen

Strange Hellos

Genre: Power-Pop

Location: Bergen, Norway

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

Twitter: https://twitter.com/strangehellos_

Buzzard

Genres: Grunge; Punk

Location: Dudley, U.K.

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

Twitter: https://twitter.com/uk_buzzard

Dream State

Genres: Post-Hardcore; Alternative-Rock

Location: South Wales, U.K.

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

Twitter: https://twitter.com/DreamStateUK

Signal

Genre: Hip-Hop

Location: Basingstoke, U.K.

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

Twitter: https://twitter.com/SignalOfficial

Sam Clark

Genres: Pop-Rock; Singer-Songwriter

Location: Adelaide, Australia

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

Twitter: https://twitter.com/TheSamJClark

Emily Magpie

 PHOTO CREDIT: Dominika Scheibinger Photography

Genres: Folk; Dream-Pop

Location: Bristol

Follow: https://www.facebook.com/EmilyMagpie1/

Twitter: https://twitter.com/EmilySpetch

Heathers

Genres: Alternative; Indie-Pop

Location: Dublin, E.I.R.E.

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

Twitter: https://twitter.com/heatherstunes

Scott Quinn

Genres: Electronics; Alternative-Pop

Location: Harrogate/London, U.K.

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

Twitter: https://twitter.com/ScottPQuinn

Thea & The Wild

PHOTO CREDIT:  fotograf julia naglestad

Genres: Pop; Alternative

Location: Oslo, Norway

Follow: https://www.facebook.com/thea.and.the.wild/

Twitter: https://twitter.com/Theaandthewild

Jacob Banks

Genres: Soul; Alternative

Location: London, U.K.

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

Twitter: https://twitter.com/MrJacobBanks

The Aces

Genres: Pop; Rock

Location: Utah, U.S.A.

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

Twitter: https://twitter.com/theacesofficial

LA River Bend

Genres: Folk; Rock; Alternative

Location: Los Angeles, U.S.A.

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

Twitter: https://twitter.com/lariverbend

Skott

Genre: Alternative

Location: U.S.A./U.K.

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

Twitter: https://twitter.com/skottmusic

Sivu

Genre: Alternative

Location: London, U.K.

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

Twitter: https://twitter.com/SiVUsignals

Jessica Murae

Genres: Indie; Alternative; Pop

Location: Watford, U.K.

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

Twitter: https://twitter.com/Jessicamurae

Farah Elle

PHOTO CREDIT: Tara Thomas Photography 

Genre: Alternative

Location: Dublin, E.I.R.E.

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

Twitter: https://twitter.com/FarahElleMusic

 

The Kondoors

Genres: Pop; Soul; Gospel; R&B

Location: London, U.K.

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

Twitter: https://twitter.com/thekondoors

FEATURE: What Came Before and What There Will Be: Why I Am Looking Forward to 2018

FEATURE:

 

What Came Before and What There Will Be:

 IN THIS PHOTO: Billie Marten/PHOTO CREDIT: Rory DCS (for Wonderland) 

Why I Am Looking Forward to 2018

_________

THIS year is almost at an end…

IN THIS PHOTO: Lorde/PHOTO CREDIT: Mark Seliger 

but that does not mean I am resting and laying back until then! I have already collated and recognised my favourite songs and albums from this year – Lorde’s Melodrama getting the album honour – and I am still revelling in all the new music coming through. It has been a terrific and busy one for the industry and there are things we can look forward to in the next year. There have been triumphant and stunning albums this year but a couple of disappointing offerings into the bargain. Three big acts I thought would get critics drooling and buzzing have produced albums that are past their very best. Björk released Utopia and, when it was announced a while ago, I was among the most excited and eager to hear the new record. It is, in her words, an album that looks at love and rediscovering happiness. Previous records have looked at breakup and scars whereas her latest album addressed renewed purpose and joy. It is good to hear that from Björk but many were expecting a very different L.P. What we have is something personal and experimental; it is spacious and glacial – there is little of the innovation and energy of her best creations. Perhaps that is inevitable – given the fact she is nearing middle-age – but critics felt the listen was too dull and unengaging. I really like the album and know it will take a little while to bed-in and resonate.

IN THIS PHOTO: Arcade Fire/PHOTO CREDIT: Getty Images

Two other artists who were primed for big releases were Arcade Fire and Eminem. Very different in terms of sound and purpose but here are two huge acts who have, between them, crafted world-class albums. Arcade Fire’s previous album, Reflektor, showed a little weakness but there were moments of brilliance in there (among them David Bowie-featuring title-track). It was a great album but not up to the lofty heights of past material. When Everything Now came out; there were some who instantly praised it and proclaimed it their finest work. As the reviews came in; that heat went away and many had a more reasoned and demure attitude. It is not a terrible album but there are very few songs that remind us of the better-days Arcade Fire. Some songs, such as Chemistry, fall very short of the mark and make me wonder whether they have lost their touch. Considering they produced masterpieces in The Suburbs, Neon Bible and Funeral: Everything Now appears rather limp and sallow stacked alongside them. It is inevitable certain bands will weaken over time – I hope Arcade Fire regain the purpose and spark that made their first three albums such works of brilliance. Eminem is, perhaps, the biggest disappointment from the year. He is around the same age as Björk but, whereas she is talking about new love and exploring fresh horizons: Eminem is on the attack against the government and trying to rekindle the explosions we heard on albums like The Marshall Mathers LP.

Revival is fresh out but is getting some rather mixed reviews. Those who feel it is up to the hype are celebrating his intense raps and incredible wordplay; the collaborative spirit and the fact he still has that fight and determination. It is clear Eminem is fired-up and angry but has that led to a muddled and unfocused album?! It is a huge, nineteen-track record that covers a lot of ground and brings stars like Pink and Beyoncé into the fray. That association with mainstream artists has led some to say he has lost his edge and is going after fame and big names over his own voice and talent. Whilst Revival is not as immense and wondrous as The Marshall Mathers LP; there are some standout moments and reasons why he should not be written off completely. I wonder whether there will be a tenth album and he can regain some of the genius we all expect from Eminem – he is in his mid-forties so he is past the glory-days. There have been other slightly disappointing albums but those names were the ones expected to create year-defining work. I have been impressed by the likes of Lorde, Thundercat and IDLES: music’s variations and eclectic spirit have seen some tremendous albums come through. As we start to say goodbye to a busy and interesting 2017; there are many, myself included, already making proclamation and predictions regarding the year ahead.

IN THIS PHOTO: Hip-Hop hopeful (and Grammy-nominated artist) SZA

I am pumped looking ahead and how music will change. I will come to the two albums/artists I am most excited about but, if you look at how some genres are coming into focus; I am sure Pop and Hip-Hop will have the biggest say. Pop has always been a bit of a shaky and unpredictable side of music that mixes credible and intelligent acts with the commercial and depressing. The fact Lorde sticks out in my mind is because she has taken a genre I am sceptical about and added her own stamp to it. She is one of the finest songwriters out there and has blown me away with her skill, quality and diversity. I am hearing a lot of similar artists coming through and it seems there will be a move towards more credible and mature Pop. The same is true of Hip-Hop- a genre that has always had to fight for attention. The fact The Grammys included so many Hip-Hop artists in its main categories is a very good sign. I am pleased there is recognition of truly fantastic musicians doing incredible work – the fact it has taken this long to acknowledge them is a little troubling. It is hard to say what will prevail and rule in 2018 but there are a couple of forthcoming/possible releases I am pumped about. One I definitely know is happening is from Jack White. We have seen a teaser/sound-collage video released that fuses various songs together – snippets of them, at least!

One hears some Rock blasts and acoustic numbers; Bluegrass contemplation and scintillating Blues. I am not sure what the album is called but it appears, as the weeks go by, more details will come to light. The White Stripes legend created six albums with Meg White and has already released two solo works. Blunderbuss was his 2012 debut and was a solid album that pleased fans and critics alike. Its 2014 follow-up, Lazaretto, was a step forward and still retained that diverse and exceptional songwriting. Both albums showed White could perform with new musicians and continue without Meg – without repeating what he had done with The White Stripes. It is three years since his last release so high-time there is fresh material! Both his previous solo outings have been solid four-star releases: it seems the songwriter has not created a bad record in his career to date!

IN THIS PHOTO: The cover for Jack White's album, Lazaretto

I am excited by what I have heard so far – brief as it is! – and there has been a surfeit of great Rock this year. I have mentioned IDLES (they are more Punk) but, if you check out the new breed of Rock bands, there are few that stick in the mind. I love acts like REWS but have heard so many others that are quite weak and generic. Foo Fighters released Concrete and Gold this year and that hardly blew me away; Queens of the Stone Age’s Villains was impressive but, aside from them, there was evidence to suggest the validity and popularity of band-made music was waning – as the solo artist took more focus and, once more, produced the best material of the year.

PHOTO CREDIT: Getty Images

There are rumoured albums and various possibilities (for 2018) but an album from Jack White is what the world needs! Not only will it bring back a musical talent who has inspired many: other acts/bands will hear his work and take guidance from it. I feel there are too many stadium-aiming bands who want to produce aimless riffs and big sounds – so long as it gets the crowds moving. Royal Blood’s How Did We Get So Dark? was another album that I was excited about but was left cold and angry by – it did not progress from their debut and had very little depth and nuance. Jack White is a different beast and someone who broadens his songwriting and creates colourful, wide-ranging releases. I mentioned Lorde scooping my album prize this year: last year, the honour went to another, but different, female talent. If 2014’s best album was from D’Angelo and The Vanguard (Black Messiah); 2015’s was Kendrick Lamar’s To Pimp a Butterfly: 2016’s best record was from a young and beguiling Yorkshire lass. Writing of Blues and Yellows first came to my attention a few months before its release. I was aware of Billie Marten before then – having seen a few of her videos on YouTube – and I was one of the first journalists to review the record (when I was writing for The Metropolist). I hope to receive that same honour next year – I am not revealing spoilers when I say Marten is working on new material...

She has written, on Twitter, how she has been in the studio and looking forward to her second album – without revealing any songs/dates quite yet. One of the riskiest things Marten could do is abandon the Folk template she utilised on her debut: so many young songwriters go in a different direction on the second album and risk ruining things. Marten has tipped artists like Scott Quinn so, perhaps, there might be a more Electronic/Soul vibe on the next record? My biggest hope is she assimilates new sounds but keeps the foundations of her sound true and solid. I adore Writing of Blues and Yellows and was mesmerised by its maturity an instant sense of gratification. In the review I wrote, I foolishly side-lined two tracks as potential near-fillers: Green and Emily. Both and incredible songs that cannot be accused of weakness. The former has some terrific percussion and is one of the bounciest/spirited tracks on the record. Emily is Billie Marten showing everyone out there how to write a haunting, unforgettable song. It is howling and strange; it has beauty and incredible build-up; there are electric flecks and echoed backing vocals – a riot of emotions, sights and possibilities. I think the song is the strongest on the album and proof the teenage Marten is a sensational talent one can easily link with Kate Bush and Joni Mitchell – she has the talent and ability to equal their work and become one of our finest artists! There are similar-minded acts like Lucy Rose (another incredible songwriter) - but Marten is ahead of them all.

Although it would have been nearly two years since her debut – whenever the sophomore album is out – that is no slight. Marten has been busy touring and taken the album to various nations. The U.K. is her base and she has been around the country amazing crowds. Every time I spin Writing of Blues and Yellows (I have the vinyl; put it on and close my eyes) I can imagine the songwriter walking the Yorkshire countryside alone with her thoughts. The epic and sweeping scenes, the British weather; the tenderness and quiet – that all comes through in the album. What blew me away was the emotional nakedness and candid revelation from a new artist. Tracks such as Teeth expose Marten’s fight with mental-health (and its poison); Heavy Weather is as evocative and spine-tingling as you can imagine. That song, in fact, was one I could not get out of my head in 2016. The chorus is something that gets into the heart and bounces around the soul; the vocal is transcendent and it is a song you are buckled by and bond with. Slower, building tracks like Hello Sunshine and Unaware show how Marten can muse and pontificate (slightly) - and keep the intrigue high. Bigger, critical-noted songs like Lionhearted and Bird have been played on radio and celebrated; Milk & Honey is the accusation against a hero – of immaturity and greed - whereas Live is the young woman fighting against restraints, wanting to explore the world; have freedom and space (its homonymic title caused a few problems - and is a right bugger when you are putting through Google!).

As I pitch out my journalistic tent next year; there are artists I am desperate to interview – Billie Marten is right near the top of the list! Whereas Jack White thrills me with the possibility of fireworks and his assured magnificence: Marten’s ethereal and gorgeous tones, coupled with her inspiring songwriting, offers grace and purity. I wonder how she will grow and change on the second album; whether there will be harder/sexier elements or she (as I hope) continues down the same path as Writing of Blues and Yellows. There are other records coming out in 2018 but these are the two I am most excited by. It is great seeing some new acts come through and the promise of the New Year titillate and excite music-lovers. I have made some predictions about 2018 – and assessed some highs and lows of this year – but, in truth, music keeps us all alert with its unpredictable and always-brilliant sense of rebellious. As we begin to reflect on 2017 and all the fantastic music that has come before: we cast our eyes to the horizon and what we can expect to find in 2018. I am hopeful next year will produce some of the best new artists and albums we have heard this decade, That is a lofty expectation but I am hearing rumblings and suggestions there could be an earthquake approaching. Let us celebrate what has come and get excited by what will arrive. Before then, naturally, let’s prepare for a…

PHOTO CREDIT: Getty Images

VERY Merry Christmas indeed!

FEATURE: Ones to Watch in 2018: Part II: A Great Soundtrack in Anyone’s Eyes

FEATURE:

 

Ones to Watch in 2018:

IN THIS PHOTO: Tusks/PHOTO CREDIT: Harvey Pearson 

Part II: A Great Soundtrack in Anyone’s Eyes

_________

AS I reach the half-way mark of my feature…

IN THIS PHOTO: Ferris & Sylvester

I have collated a lot of great names that will make some headway and impressions in 2018. This year has been a great one for music: it is likely next year will be an even bigger and more fascinating one. Because of that; I have been searching the avenues and options out there and brought together, what I think, is a definitive guide.

There are acts from the U.K. and U.S.; some other international treats into the bargain. I am going to bring in more European influences into the bargain in the remaining two parts of the feature; maybe one or two African artists – broadening my horizons and seeing what is out there...

__________

Confidence Man

Genres: Alternative; Pop; Synth; Experimental

Location: Melbourne, Australia

Follow: https://www.facebook.com/confidenceman1/

Twitter: https://twitter.com/confidencemanTM

Naomi Greene

Genre: Alternative

Location: Paris, France

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

Official: https://www.naomigreene.com/

The Wild Things

PHOTO CREDIT: Marcus Maschwitz

Genre: Rock

Location: London, U.K.

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

Twitter: https://twitter.com/TheWildThingsUK

The Crowleys

Genre: Psychedelic-Rock

Location: Hamilton, Canada

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

Twitter: https://twitter.com/thecrowleysband

Molly DeWolf

Genre: Pop

Location: Seattle, U.S.A.

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

Twitter: https://twitter.com/mollydewolf

Freya Ridings

Genres: Alternative-Pop; Singer-Songwriter

Location: London, U.K.

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

Twitter: https://twitter.com/FreyaRidings

Sam Gouthro

PHOTO CREDIT: @soundgallerysd

Genres: Hip-Hop; R&B

Location: San Diego, U.S.A.

Follow: https://www.facebook.com/sgouthro.music/

Twitter: https://twitter.com/SGOUTHRO93

Sol

Genre: Hip-Hop

Location: Seattle, U.S.A.

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

Twitter: https://twitter.com/Solzilla

MOULETTES

Genres: Chamber; Psychedelic; Progressive; Folk-Rock

Location: Brighton, U.K.

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

Twitter: https://twitter.com/Moulettesband

JEMS

 PHOTO CREDIT: David Solorzano

Genres: Folk; Alternative

Location: Los Angeles, U.S.A.

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

Twitter: https://twitter.com/weareJEMS

Flirting.

Genre: Post-Ironic-Fuzz

Location: London, U.K.

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

Twitter: https://twitter.com/actualflirting

Becca Krueger

PHOTO CREDIT: Natalie Powers

Genres: Pop; Electronica

Location: Denver, U.S.A.

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

Twitter: https://twitter.com/becca_krueger

Tusks

Genres: Electronic; Experimental; Ambient; Indie; Pop

Location: London, U.K.

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

Twitter: https://twitter.com/Tusks

Albert Man

Genres: Alternative-Rock; Pop

Location: London, U.K.

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

Twitter: https://twitter.com/albertmanmusic

Tayá

Genre: R&B

Location: Liverpool, U.K.

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

Twitter: https://twitter.com/taya

J.I.D.

Genre: Hip-Hop

Location: Atlanta, U.S.A.

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

Twitter: https://twitter.com/JIDsv

RAYE

Genres: R&B; Electro.

Location: London, U.K.

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

Twitter: https://twitter.com/raye

The Winachi Tribe

Genres: R&B; Electro.

Location: Warrington/Leeds/Bradford, U.K.

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

Twitter: https://twitter.com/winachitribe

Abra Cadabra

Genre: Rap

Location: U.S.A.

Follow: https://www.facebook.com/abznoproblem17/

Twitter: https://twitter.com/abznoproblem17

SISTERAY

PHOTO CREDIT: Daniel Quesada PhotoSpace

Genre: Alternative

Location: London, U.K.

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

Twitter: https://twitter.com/sisterayuk

Deadset Dream

 Genre: Alternative-Rock

Location: Sheffield, U.K.

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

Twitter: https://twitter.com/DeadsetDreamUK

Ferris & Sylvester

 PHOTO CREDIT: Daniel A Harris Photography

Genres: Alternative; Country; Americana

Location: London, U.K.

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

Twitter: https://twitter.com/FerrisSylvester

Nick Byrne

PHOTO CREDIT: Beli Klein 

Genres: Alternative; Folk; Acoustic

Location: Buckinghamshire, U.K.

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

Twitter: https://twitter.com/nickbyrneuk

Pryti

Genres: Rock; Alternative; Grunge; Metal

Location: U.K.

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

Twitter: https://twitter.com/prytigatge

Katy Rose

Genre: Pop

Location: Los Angeles, U.S.A.

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

Twitter: https://twitter.com/katyrosemusic

FEATURE: It’s You, Not Me! The Link Between Misophonia and Creativity

FEATURE:

 

It’s You, Not Me!

 PHOTO CREDIT: Getty Images

The Link Between Misophonia and Creativity

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IT may sound like an odd topic to raise before Christmas…

 PHOTO CREDIT: Getty Images

but something has struck my ear – in quite a harsh and detrimental way! There are a lot of ailments/conditions that go unnoticed and misunderstood. It may sound like a universal thing but there are many medical professionals/people who feel misophonia is a misnomer or myth. It is, essentially, a selective sound sensory syndrome – ‘sound-rage’, if you will. Sound is a broad-ranging and complex area: many different people are provoked and irritated by various sounds. For me, and many out there, particular noises get into the head and cause incredible anger. In my case, that anger is suppressed and sublimated – lest it erupts into a full-blown explosion. I am in a rather irritating position whereby my working day is dominated by all manner of noises and irksome sounds that mean I retreat into my own mind – put the earphones in and turn the music up. For me, the most egregious sounds are those of throat-clearing and coughing. Being around people who are ‘of a certain age’ and have no manners whatsoever – there is an endless stream of noise and annoyance. Being inches from loud throat-clearing and coughing; sniffing, sneezing and nose-blowing is enough to make my blood boil. It may seem like a common-sense anxiety: how many of us actually like that sound?! Having misophonia is something that can be mild in many people – hard to determine whether someone is naturally reacting to an annoying sound or has a genuine conflict. In my case, there is a daily (and never-ending) woe. There are many other things that annoy me about my colleagues – hence the reason I am on the job-seeking warpath – but a continuous stream of germs, snot and splutter means I am more isolated, angry and uncommunicative than normal. Other working environments have been a lot more appealing and harmonious – a younger base and far fewer who flood the office with noise. There are members of the family (and others) who are a bit loud/germ-y but I am much more tolerant and forgiving – although I do jump and get wound-up.

PHOTO CREDIT: Unsplash

Maybe it is the sheer rudeness and lacking manners that enrages me so: the depressing fact that, I guess, when one reaches a certain age, they are incubators for every malady, noise and head-pounding sound effect known to man (something cheery to look forward to). Others are aggravated by the sound of loud eaters; some by other triggers/sounds. It can hit people differently but I have that ongoing stress and upset – avoiding situations and environments where there will be these noises; having to muffle the sounds and try and block them. So, then, is there a point beyond getting something off my chest?! There is, as it happens. I know a few people with this condition and there does seem to be a common link: they are all creative-minded. Those who have the burden of misophonia tend to have a more creative and artistic mindset – not in every case but there is a general trend. I was looking at an article published on the BBC website that explained it:

“The results, published in the journal Current Biology, revealed the part of the brain that joins our senses with our emotions - the anterior insular cortex - was overly active in misophonia.

And it was wired up and connected to other parts of the brain differently in those with misophonia.

Dr Sukhbinder Kumar, from Newcastle University, told BBC News: "They are going into overdrive when they hear these sounds, but the activity was specific to the trigger sounds not the other two sounds.

"The reaction is anger mostly, it's not disgust, the dominating emotion is the anger - it looks like a normal response, but then it is going into overdrive."

One can argue there is no direct link between misophonia and creative abilities: some will say it is a personality drawback rather than a neurological misalignment. It is interesting discovering but, whilst not Christmas-related, there are positive results that come from the condition. Until more research is done on the subject – determining why some are predisposed and whether it constitutes an actual disorder – I have found myself immersed more in music and writing.

IMAGE CREDIT: Getty Images

Maybe it is a natural reaction to sounds around me and my desire to replace them with something much more melodious and harmonic. So; if you need to know more about the condition (and whether you suffer from it); here is another article that goes into detail:

“Finally, a scientific misophonia study which has yielded some positive results.

A recent study by Northwestern University found that misophonia sufferers may be significantly more creatively talented than ‘normal’ folk thanks to something called ‘leaky’ sensory gating’.

You view see the full report here (warning: mostly impenetrable)

Despite being a severe misophonia sufferer myself, I found it hard to decode the report (I must have a very particular form of creative, misophonic genius). However, here are some of the key findings from the study in italics and my layman’s terms interpretation below:

“Creative achievement is associated with “leaky” sensory gating”

This will sound strange, contrary even, but evidence suggests that talented creatives tend to lack the ability to filter out irrelevant sounds and/or images.

In other words, the creative achiever’s sensory filters are ‘leaky’ and they’re easily distracted by what’s going on around them.

For the misophonia sufferer this is the brain-pummeling sound of someone licking their lips… or a work colleague clicking their pen.

While this brain rage can be a burden in almost all scenerios it also endows us with the propensity to process ideas outside of the conventional focus. And this is where our superhuman skills come into play.

“Divergent thinking is associated with selective sensory gating”

Here’s where it gets a little more complex.

When we talk about ‘divergent thinking’, we’re talking about the thought process used to explore different possibilities and solutions. In other words to generate a quantity of different creative ideas.

The more I am exposed to triggers and annoying sounds – it is much worse where I work than, say, a normal day walking/travelling around London – the more I concentrate on my work and escape from what is around. That may sound like a worrying and alienating lifestyle but the effort/tolerance it takes to surround myself with certain people is a draining experience.

IMAGE CREDIT: Getty Images

It is interesting seeing how certain minds are wired and why those who are afflicted by misophonia are more adept when it comes to creative output – if there is a correlation between one and the other. It seems like there is a link because, as I have mentioned, quite a few musicians I know have the same condition. I have written about dementia and how those with the disease store musical memories in a different part of the brain (than everything else) and whether music therapy can unlock other memories – that might have been forgotten and ravaged because of Alzheimer’s/dementia. Creative ability and music talent are as much to do with composites of the mind as they are hard work and dedication. We know those with a predilection for arts like music have different brains to everyone else. I guess there are few sustainably positive aspects of misophonia but it can be a signifier there is a creative spark inside you. I wonder, given the fact the condition is an annoyance of noise; the need to create pleasant sounds is the brain’s natural reaction. If certain people, like me, are sent into a spin at the slightest sense of an annoying sound – a counteraction would be something beautiful and soothing. I am different as I do not make music - but my urge to write and produce pieces is, in part, inspired by misophonia. I have been a sufferer for years now but have found the problem exacerbated because of my working conditions. The only real ‘bright spot’ has been that immersion into music and writing. Certain people are affected by different noises: it can be everything from a coin dropping in a machine or the rustling of a packet of crisps. There are obvious drawbacks, if you’re a musician, when it comes to having a hatred/fear of certain sounds: life is no rosier for a journalist, I guess. My triggers are narrower than some – none of the sounds that annoy me are present (much) in the music I listen to – but I can imagine, for some, their working life is a mass of contradictions and hurdles.

PHOTO CREDIT: Getty Images

There are treatments that can aid those afflicted by misophonia:

“If you’re an anxious person, you want a music-based clinician who can administer the kind of music intervention that will ultimately strive to more permanently release anxiety. Another way to look at this, is that you want a therapist who can utilize music to alter the function of the brain’s amygdala (moving the individual’s nervous and physiological system from high arousal to calmer). A music-based clinician can help you mediate fight/flight with music. Anxious people, and people with misophonia, both tend to have higher arousal systems, involving fight/flight. When a person is in fight/flight the HPA Axis (Hypothalamic-Pituitary-Adrenal) shoots catecholamine in the blood stream (cortisone, adrenalin, etc.), and other hormonal and physiological processes occur. It is generally unhealthy for the body to be frequently and excessively activated like this”.

It is, as I confess, a strange thing to write about but I am becoming ever-fascinated in the correlation between music and the mind. Although there are many out there who are affected negatively by certain sounds – they have an unusually high creative aptitude and can translate that into incredible music. It is not reserved to musicians, of course: people in other areas of the arts possess a similar talent. The creative mindset and makeup is a fascinating thing that warrants closer investigation. As someone who (however mildly) gets annoyed by various sounds – I know there are good sides that come out of it. Misophonia is not really a recognised condition among many; doctors and professionals feel (those affected) are short-tempered and easy to annoy. Let us hope, as more and more people come forward about conditions such as this; people out there start taking…

IMAGE CREDIT: Liberty Antonia Sadler (for Metro.co.uk)

IT much more seriously.

FEATURE: Kick Out the Jams: Why Josh Homme’s Actions Against Chelsea Lauren Cannot Go Unpunished

FEATURE:

 

Kick Out the Jams

PHOTO CREDIT: Getty Images  

Why Josh Homme’s Actions Against Chelsea Lauren Cannot Go Unpunished

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NO humour and insincerity is meant…

IN THIS PHOTO: Chelsea Lauren

by me referencing the MC5’s most-famous song as the title of this piece! It is not a playful piece of wordplay: the idea is to cast scorn and opprobrium on musicians like Josh Homme - who feel their status and legacy preludes them from repercussions and awakening. I was going to reflect on Josh Homme’s unprovoked attack of photographer Chelsea Lauren when it occurred (a couple of days back) - but I wanted to let the dust settle and see how the Queens of the Stone Age frontman responded to the, understandable, wave of social media anger and shock. I will come on to look at how these actions – assaults against other music professionals are not new – but I was not expecting something as random and violent from Homme. I know, as many newspapers and commentators have stated, he has been embroiled in controversy throughout his decades-long career. There have been incidents of homophobia and violence (threats, at least) but, given the fact he is a Rock frontman under constant scrutiny, far fewer examples when, say, compared with artists from other genres – and the legendary Rockstars of old. That is no defence but, at the very least, Homme has come out and apologised for his actions. The initial statement - released on Twitter - from him blamed the situation/music for the attack – a case of getting lost in the moment and not really thinking it through.

PHOTO CREDIT:  Emma McIntyre/Getty Images for KROQ

I have seen the footage (a fellow gig-goer captured the moment a few rows behind Chelsea Lauren) and it shows the kick in all its horrifying (and gory) detail. The frontman was prowling and swaggering on the stage when, as he walked in the direction of the photographer, kicked in her direction and, as we know, inflicted injury. The camera was forced into her face and, with it, the photographer spent the night in the emergency room. Not only has Chelsea Lauren vowed never to shoot the band again – as a fan and follower; that decision could not have come as easily as you’d imagine – but there needs to be sterner investigation. Homme, after the initial statement, recorded a video where he looked genuinely upset and affected. His culpability is undeniable – the U.S. frontman has confessed a serious error of judgement and, in his own words, acknowledged there are issues to address. Other erratic behaviours have been noticed recently: the same tour has seen him slag-off fellow artists and appearing with blood on his face (whether a self-inflicted cut or an accident whilst performing). I saw Queens of the Stone Age ignite London’s O2 Arena recently and that show was a massive success. Homme’s on-stage interaction was minimal but he switched from a quasi-philosophical shaman (living for the moment; being your own boss; questioning our role on this planet) and middle-finger-to-The-Man rebel (ignore the curfews and urging us to party like it’s 1999!).

It was a fantastic show and, throughout the gig, Homme danced, walked and swooned around the stage and connected with the audience – without any physical connections with photographers! That was fairly recent into the Villains tour so, one wonders whether the slew of gigs and miles covered have taken their toll – the recent incident occurred at a gig in the U.S. One can argue most artists, who cover the same ground and days, do not succumb to acts of violence! That is true, but it is clear the Queens’ lead has a lot of problems to address. Things go beyond exhaustion and stress: perhaps there are deeper psychological troubles that, in a brief explosion, came to the surface at that gig. Whatever angle you look at it; that casual and reckless attack has left a stain on the floor of music. Fellow photographers have come out in support of Chelsea Lauren; determined not to associate with Queens of the Stone Age in the future. That is understandable and I wonder, when Homme issued a video apology, he knew the fallout would be huge. Forthcoming gigs are going to be a rather tense affair for Homme. Ironically; there will be more glare and focus on him – aimed more at his actions rather than his voice.

I, myself, have issues and anxieties that I am aware of. The way we deal with these burdens – when things get hard and pressurised – defines who we are as people. There is never an excuse for any acts of violence at a gig. This was not an attack on women or photographers: it was a man unable to control his emotions and sense of entitlement. One cannot go as far as putting barriers between photographers and bands (as fans would need to be guarded in the same way) but I wonder whether we are being too soft in regards these acts. It was, essentially, assault - and one would like to see Josh Homme dealt with the same way anyone else would (I am not sure whether Chelsea Lauren is pressing charges or not). I can understand the weight put onto a musician’s shoulders in this day and age: the destabilising and exhaustive demands levied can create physiological and physical cracks. Homme needs to control his temper better and, if there are problems he needs time to focus on; take time out of money and cancel a few dates. There needs to be a serious period of self-reflection and repentance: a man who lashes out without any reason like that cannot continue the way he is. The fact he realises the damage done, and accepts he make a huge mistake, is good to see.

Over the course of this year; I have seen a few cases of male musicians saying or doing something reckless and inexcusable – whether a physical attack or an unforgivable remark. Given the scandals coming out of the acting industry – and many male producers/stars accused of sexual assault – few are going to be forgiving or patient when they see acts like Homme’s come into the news. I still have a lot of respect for him – and this will never be repeated – but, as head of one of the world’s biggest band, this sets a terrible example to those who idolise Queens of the Stone Age. I am not sure how the matter will resolve itself; whether legal process will begin or it will gain more publicity – there needs to be some accountability beyond apology. Homme needs to recharge his batteries and, if there are external events/situations impacting his mood, these need to be challenged and squashed. As Queens of the Stone Age continue to tour and face thousands more fans; I am concerned something even bigger and more worrying will happen. There will always be one or two controversies in music...but I cannot fathom why Homme did what he did. It was such a casual and unprovoked kick against someone who was doing her job. I hope something positive comes out of this event – Homme has a moment of self-actualisation and seeks help if needed – and the Queens’ lead learns a valuable lesson. Scars, physical and emotion, have been left on Chelsea Lauren – let’s hope she does not lose faith in other artists. One thing is for sure, mind: nobody wants to see anything like this…

PHOTO CREDIT: Press/Getty Images

DARKEN music’s name.