FEATURE: In the Nineties with the Chance of Rain: Metacritic’s Highest-Rated Albums Ever: The Playlist

FEATURE:

 

In the Nineties with the Chance of Rain

ALL PHOTOS: Unsplash

Metacritic’s Highest-Rated Albums Ever: The Playlist

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THIS is my final piece of 2017 and…

whether I enter the New Year drunk or being eaten by a raging Alsatian – I’d like to have some world-class music ringing in my ears! Most of will enter next year’s infantile hours sleepy, blurry-headed…and our memories severely impaired. Nominal aphasia, dry mouths and banging heads – all part of the celebration aftermath. I have been covering a lot of music and, as early as tomorrow, will look at an album that continues to inspire and compel new musicians – some twenty-three years after its release. We have had all the Christmas songs and, as we ring in the New Year; everyone will have their bespoke soundtracks. I felt adding mine would be a bit obvious but, as we are marking the best music of the year…why not put a playlist together collecting music from the greatest albums of the past seventeen years?! I have been looking at Metacritic – some musicians/journalists consider it bias; others use it as gospel – and looked at the albums they have rated extremely highly (scoring ninety-percent or over) and compiled a selection of epic music to give your final moments of 2017 necessary kick, memorability and quality. Sit back and spin a banquet from some of the finest albums…

FROM the past couple of decades.

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FEATURE: Beauty in the Eye of the Beholder: The Best Cover Art of 2017

FEATURE:

 

Beauty in the Eye of the Beholder

PHOTO CREDIT: Unsplash

The Best Cover Art of 2017

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PERHAPS an album/E.P. cover is less important now than…

IN THIS PHOTO: Jane Weaver/PHOTO CREDIT: Getty Images

in past years. The digital nature of music means there is less of an emphasis on a sleeve and the look of a record. People are more interested in the music and forget about the effort and dedication it takes to get that perfect image. If you look back at the greatest album/E.P. covers from history; they have captured the imagination and struck the eye – either due to their simplicity or a vivid and intricate design. A lot of those classic covers have been about capturing something instant and pure; a shot that defines the music inside and differs from anything out there. I have been looking at the album and E.P. covers from the year and have assembled, what I think, are the finest and most alluring…

ALBUM COVERS: Getty Images

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Jay Som – Everybody Works

Release Date: 10th March

Label: Polyvinyl Record Co.

St. Vincent – Masseduction

Release Date: 13th October

Label: Loma Vista Recordings

Lorde - Melodrama

Release Date: 16th June

Label: Republic Records

Arca - Arca

Release Date: 7th April

Label: XL Recordings

Feist – Pleasure

Release Date: 28th April

Label: Interscope Records

Kehlani - SweetSexySavage

Release Date: 27th January

Label: Atlantic Records

Jane Weaver – Modern Kosmology

Release Date: 19th May

Label: Fire Records

Tyler, the Creator - Flower Boy

Release Date: 21st July

Label: Columbia Records

Girlpool – Powerplant

Release Date: 12th May

Label: Anti-

Halsey – Hopeless Fountain Kingdom

Release Date: 2nd June

Label: Astralwerks

Thundercat – Drunk

Release Date: 24th February

Label: Brainfeeder

Tove Lo – Blue Lips (Lady Wood Phase II)

Release Date: 17th November

Label: Universal Music LLC

Charli XCX - Number 1 Angel

Release Date: 10th March

Label: Atlantic Records UK

Mura Masa - Mura Masa

Release Date: 14th July

Label: Polydor, Interscope, Downtown and Anchor Point Records

Father John Misty - Pure Comedy

Release Date: 7th April

Label: Sub Pop

Kelela – Take Me Apart

Release Date: 6th October

Label: Warp Records Limited

Baek A Yeon – Bittersweet (E.P.)

Release Date: 29th May

Label: JYP Entertainment

Arms and Sleepers – Life Is Everywhere

Release Date: 27th January

Label: Arms and Sleepers

SZA - Ctrl

Release Date: 9th June

Label: Top Dawg Entertainment

FEATURE: Saratoga with a Slice of Lime: Why the American Music Press Is Ahead of the British Best

FEATURE:

 

Saratoga with a Slice of Lime

ALL PHOTOS (unless credited otherwise): Unsplash

Why the American Music Press Is Ahead of the British Best

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MANY might find my headline proclamation…

tantamount to a lack of patriotism and faith! There are many familiarities between America and the United Kingdom, We both have unpopular, ludicrous leaders (the U.S. are ahead of us) and both have incredible music scenes (I would give that win to us). In a modern-day, media American Revolutionary War; the Americans win the new-age Saratoga and Yorktown. It is not biased suggesting we have a better and more rounded music scene. I know America is larger and has broader geography than we do here. You can go from the Southern states like Arizona and Nevada and see no comparison to that of Tennessee or New Mexico. New York is a world away from California whilst Oregon and New Jersey have their own thing going on. Maybe the fact there are more musicians in the U.S. (compared to here) means there are more music outlets; greater mobilisation and better, finer-funded journalistic attack. I often search for ‘the best bands in…’ when looking at state-specific artists. The local media, except for New York and California, is not that active when highlighting their best acts to watch. Maybe Nashville and Austin (Texas) are exceptions. Here, we have the same issue: I wonder why there are few local sources scouring the floors for artists to watch. The national press is a different matter?

I will concede America is a lot stronger regarding other elements of the entertainment industry. I watched a new drama, Feud, for the FX network that tells about the rivalry bittern Joan Crawford and Bette Davis. The series was well-received and has been renewed for a second season – where the subject switches to the relationship between Princess Diana and Prince Charles. I watch ambitious and sharp U.S. drama and realise how far ahead of us they are. Look at the range of fantastic dramas on Netflix, FX and Amazon Prime and you can see how advances and ahead of us they are – despite the fact they have more money. I do not believe finance and greater resources is the reason the Americans leads us: finer talent and better writers, with great imagination, are part of the equation. That is the same case regarding sitcoms: the penmanship is finer, wittier and the series are, largely, much funnier. You can debate the odd show here and there but, when comparing scenes; the U.S. market is a lot stronger. Music is a much more evenly-balanced and competitive. The Americans have a better and dominant Hip-Hop/Rap scene. We have nobody who can rival the potency and genius of Kendrick Lamar, for example. Our Pop market is richer and we are pretty toe-to-toe regarding Punk, Rock and Indie. Look at the Folk market and we take an edge; the U.S. has better Country acts; maybe the U.S. leads the Jazz market – we regain advantage when looking at Electronic acts.

IN THIS PHOTO: The logo for Pigeons & Planes/PHOTO CREDIT: Getty Images/Pigeons & Planes

In spite of our shinier, tauter muscles; there seems to be a disparity that is quite alarming. I look at the list of best-rated music blogs and the Americans lead the pack. From Pitchfork and Consequence of Sound; BrooklynVegan and Aquarium Drunkard; The 405 and AllMusic; Pigeons & Planes to Metal Injection – all based in the U.S. Drowned in Sound, The Line of Best Fit and Louder Than War are situated here. Manchester’s Louder Than War – based on The Smiths’ Louder Than Bombs compilation – is one of the go-to sites for all the coolest and most current music news.  I am a big fan of Drowned in Sound and what they produce. We have Too Many Blogs and other great blogs but, if you look down the list of the finest and highest-rated you find the majority are American. We might, in a list of fifty, not lose out by much but the top-ten/twenty is U.S.-heavy. Considering we here have a deeper and more vibrant music scene (in my view); I wonder why we are losing the war. There are more people in the U.S., for sure, so it is inevitable there would be a wider media scene. Quantity and coverage do not mean a stronger and better-quality market. Our best music blogs match the quality and importance of magazines like MOJO, NME and Q. We have a wonderful wave of underground/independent blogs (not including myself!) but the spotlighted, professional sites are not quite as striking and impressive as the U.S.

PHOTO CREDIT: Getty Images

If the Americans have us beat for drama and comedy writers: does that mean their music journalists are finer? I would say, historically, we have produced the most intelligent and passionate music commentators. Now, if you look at the music media, there is a less-visible and important scene. Gone are the heady days of NME – when every band lusted after coverage – and the writers who helped define and document our brilliant artists. Although we have passed the epic days of the 1990s; that does not mean a weakened music scene should affect the music press. A few years ago the BBC Radio 4 series, Yesterday’s Papers: The End of the Music Press, examined the downshift in media outlets and how writing has moved from traditional print to the Internet. It is a shame to see the cessation of weekly magazines – a few exist but fewer than years ago – and the digitisation of the music press. One of the problems we have here is a lack of governmental backing. We have a lot of talented writers – on the same level as America’s best – but there is less money set aside to find the media. Although recent reports suggested certain U.S. newspapers are laying off editors and copyrighters. There is structural weakening occurring and the need to minimise and centralise publications. Many sources are streamlining their workforce and trying to save money.

That said; there is still more money available in the U.S. and better financing to ensure the best music blogs/paper are subsidised and survive. I know most of our blogs have to rely on unpaid contributors and a shallower wallet. Many are closing because of the expense needed to produce great work. One needs to go to gigs and interview artists; publish pieces and, in order to compete; be as ambitious and prolific as possible. Free contributors are fine but there are still the issues around expenses and subsidisation. There is such a tight budget for our best writers and sites to expand and thrive. Maybe, then, finance is the big difference. A lot of other factors play in. The closure of music venues and changing genre-tastes – Pop starting to rise; Rock less prevalent and important; new music taking a bigger role than mainstream – means the lesser-seen, smaller blogs (who investigate new music) are busier and, in my view, more promising. The finest we have here are wonderful but there is something special about the U.S. I can trace a lot of the weakness to the way the government ignores the music scene. Venues are closing and the charts are not an accurate representation of our music culture; the printed press is dwindling and there is not the kind of explosion and genius we had years/decades ago. All of these factors combine and it means it much harder appealing to the masses; producing the same sort of work that made British music journalism the byword for quality years back.

The U.S. has its own problems but there are more paid writers and bigger numbers. If they can afford to hire writers and have bigger kitties for gigs and pieces – that means the journalism will be better and appeal to more people. More money can be spent on promotion and it seems there are differences between the way the music media is perceived and treated in both nations. I cannot abide by the assumption American writers are better than ours. The music scenes are even but with exciting young artists like SZA, Princess Nokia and Brockhampton producing terrific music – it is a ripe and rewarding time being a music journalist in the U.S. We have amazing hot artists coming out but I feel U.S. music, at the moment, is more adventurous and colourful. If the quality levels are even; there is a more eclectic scene. If you look at an average day at Pitchfork and Drowned in Sound you cannot really say the Americans are sharper, more detailed and innovative than our best. A lot of these polls are based on numbers and, when you have a bigger national population; the more people will visit music websites. America has government problems and faces the same trials as we do but I think our media and music scene is at greater risk than the U.S. Structural damage and shaky survival rates for venues is worrying; the way the mainstream is set up and the lack of affirmative, mass-inspiring bands compelling writers. Maybe, though, there is a general issue with music journalism as a whole.

IMAGE CREDIT: Getty Images

Is the lack of money and digitisation affecting people’s dedication and concentration? The invention of apps. mean people can get their music news on the go; there is more competition and albums are released in different ways – less time for promotion and people refuting the media’s opinion and relying more on streaming services for musical guidance. I still think these issues exist more in the U.K. It is hard explaining why the U.S. are so far ahead of us regarding popularity and press dominance. I shall conclude by bringing in a piece by a U.S. journalist published on hypebot earlier in the year:

“Back in the day, music press got the word out about music before the music itself could get there. You could read about a record, but hearing it required hard work, happenstance or money you didn’t have. It could take yearsbetween seeing the name of some potentially-interesting band or song and actually hearing them. These days, of course, your chosen obscurity is likely just a YouTube search away.

With the rise of blogs, opinion is as readily available as the music itself. Approximately nobody is going to pay money for this stuff. Only the biggest blogs and sites can sell the ads they need to, and even they’re having serious problems. The New Musical Express is now an entertainment guide given away outside tube stations. The problem for professional music critics and press is competition from literally the whole world, the same problem artists have.

This is a special case of the problem with journalism in general: the money dried up with the exclusivity. About the only press that’s done at all well are the technology sites, who ripped down those tedious walls between editorial and advertising and gave up any reluctance to live off payola around the turn of the millennium, turning into utter and unapologetic shills. (Though it’s not clear those walls were ever up in music journalism.)

Even in the ’80s and ’90s, the pay was bloody dismal — I quit X-Press twice because of their widely-attested habit of asking for stuff then not running it, thus not paying you — and the main attraction was that it beat working for a living; but even that beer money level is now largely gone. Though I enjoyed it — even the tedious bits were pretty fun — I’m a computer system administrator primarily because there’s no money in writing about music. This Baffler story is me after I moved from near-unemployable nonprofit lifer to overpaid geek. I eat way better now”.

The lack of paid roles; dominance of the middle-classes in mainstream media; the lack of motivation new writers have to work for nothing; the fact people are finding out about albums before they come out – and less reliant on the written word – are all damaging and important. I have concerns about the music press in general and whether journalism is a profitable and desirable path. The only way we can make it attractive is by building our blogs/publications and considering how they are run/staffed. The U.S. music press is in trouble but I feel we face graver issues – fewer stunning writers and less money available for great and original content. With such a brilliant and growing music scene, our best and brightest talent…

DESERVES better than that!

FEATURE: Trêve de Noël: Supersonic, Reunion Rumours and Why Oasis Continue to Compel

FEATURE:

Trêve de Noël

PHOTO CREDIT: Jill Furmanovsky 

Supersonic, Reunion Rumours and Why Oasis Continue to Compel

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IT would be impossible to end the year…

IMAGE CREDIT: Getty Images

without talking about Oasis! Those reading might think that quite odd: the lads have not produced music in years and irrevocably split – the two Gallagher brothers engage in spats, conflict and exchanged jabs. One expects that kind of spirit and spit from two men who, even when Oasis were together, did not always gel that well. I have been watching the Oasis documentary, Supersonic, quite a lot. Initial reviews of the documentary, last year, highlighted the great times and the glorious music. Many noted the battles and wars were overlooked. Publications like The Guardian pointed out it was overtly positive and did not tell the whole truth. That is a misleading assumption because, when you watch, the members allude to bad times. There was the moment Liam kicked off on a ferry and got stuck into a mass melee. Liam loved the spirit and physicality whereas Noel was a bit more pragmatic. He condemned that behaviour and, unsurprisingly, Oasis were in the press for the wrong reason. Part of the legacy and reputation stemmed from the no-holds-barred, unedited comments from the Gallaghers. They were keen to proclaim Oasis the best band in the world; mouthing-off and slagging the competition. They have that northern wit and honesty but, because of their mother, Irish humour and candidness.

That combination of D.N.A. and confidence meant they were always a controversial and divisive band with critics – the documentary looked at all the headlines, fall-outs and tension. One could not produce a documentary to celebrate a band’s music and make it too negative. We have all heard about the fights and problems with their father – the Gallaghers pointing out how he was abusive and ostracised from the family – and how their mother raised them on her own. Liam and Noel were interviewed separately but every member of the band came to the same conclusion: despite the lows and tabloid obsession were some fantastic moments. The sell-out Knebworth gigs were among the defining moments of the 1990s. The build-up and hype surrounding the gigs was Oasis at their peak. It was a surprise to see so many people flock to see Oasis take to that stage. Over two-and-a-half million applied for tickets; V.I.P.s were given their own Oasis-branded binoculars; over seven-thousand were on the guestlist; only two arrests were made during those gigs  - and Noel is a bit spotty when it comes to the gigs. Whether that was the result of some epic post-gig caning or the fact it was years ago – when he spoke to Kirsty Young on Desert Island Discs (in 2015); she asked him about those times.

IMAGE CREDIT: @liamgallagher

Noel knew he was there – as there is empirical proof to back it – but the rest is a bit of a blur (a bit of Britpop humour there!). Most of us huddle around the Christmas fire to watch It’s a Wonderful Life or a Disney flick – maybe another watch of Mary Poppins! They are the classics and staples of the yearly routine. The fact Supersonic has been gaining press speaks volumes. Many preferred the Oasis documentary over the usual selection of Christmas-themed films. I was among them and, following a Twitter truce between the brothers; there is renewed interest in the band. Liam took to Twitter to wish 'team NG' (Noel Gallagher) good luck in 2018. Although it was not the two of them hugging and downing pints together; it was a thawing of tensions that bubbled and heated during 2017. The usual to-and-fro continued – each brother poking at the other – and, considering they both released albums (Liam’s solo debut, As You Were; Noel’s Who Built the Moon? gained huge acclaim) there was a perfect platform to lob a grenade in the enemy camp. The reason I have that French title (up at the top) is the Gallagher ‘truce’ reminds me of the infamous/rumoured coming-together during World War I. Troops, once opposed and balkanised, disposed with their guns and climbed out to play a cold, Christmas game of football. How much of the rumoured comradery and conviviality was factual – one suspects there was chilliness still – could not disguise the huge step each side made (both probably advanced more in that game than each side did in the War to that point).

PHOTO CREDIT: Getty Images

Whilst Noel and Liam’s pleasant social media exchange was not on the same level as that truce; it did seem to have a whiff of détente and brotherly compromise. That, of course, sparked the rumour-mill and put fans into a frenzy. The fact Liam made that step could have been the result of Christmas bonhomie – the tweet was sent on 19th December – but one feels there is a desire to get the band together. I have heard interviews where Liam regrets the way things ended. He felt they could have gone on but, remembering Supersonic; Noel felt they could have ended after the Knebworth gigs – going out on top and not letting the band drag on and become stale. Be Here Now came out a year after the gigs and, whilst not the best album from the band; it signalled there was life and energy left in the bones. That cocaine-soundtracking album was the most swaggered and bolshy of the band’s career – following from the more cannabis-scented, all-for-one anthems of their first two albums. I remember 1997 and the speculation surrounding Be Here Now. It was one of the last times in music where there was genuine excitement and memorability. People do not queue up for music anymore and spent hours waiting to get a record!

IN THIS PHOTO: The cover for Oasis' third album, Be Here Now/PHOTO CREDIT: Getty Images

The 1990s saw a gradual shift from physical music to digital – although the Internet did not start to dominate until the latter stages of the past decade. It is disappointing seeing a lack of that physical lust and the need to grasp an album in your hand. One can argue that is a natural development of the digital age but, in truth, there are no bands like Oasis around. I feel there is a huge interest in the band now goes beyond Twitter buzz and the repeat of Supersonic. The documentary reminded us of those great times and why the lads are so revered. The music was incredible (the playlist at the end of the feature collates their top songs) and they were incredible live performers. It is the personalities and approach to life that resonates. You only need to hear the Gallaghers talk about their respective albums to know their wit, honesty and boldness is still present and correct. The guys do not need to be together to get into the papers. Noel has that natural charm and humour whilst Liam is still the same rebel and leader of the working-classes he has always been. Neither has dampened and distilled in line with the passages of time. Maybe their songwriting has gone in different directions but neither artist has sold-out and changed who they are. There is the fire and ability there but you wonder whether Oasis, if Bonehead and Paul McGuigan came back – maybe Andy Bell and Gem Archer – they would pick up where they left off.

PHOTO CREDIT: Getty Images

The final album, Dig Out Your Soul (2008) was one of their better late-career efforts but not up to the standard of their first two records. Definitely Maybe (1994) and (What’s the Story) Morning Glory? (1995) are considered two of the greatest albums of the 1990s and classics. The band would not return to that template because they are not in the same position. The brothers are famous and have different ambitions; they have matured their sound and would probably produce something similar to their solo material. We can argue about possible album-sounding directions Oasis 2.0 could take but that belies the main point: the need for a band like them to salvage music and inspire the people. There are no working-class heroes at the forefront of music. Oasis led a 1990s vanguard that included Pulp and Blur. Perhaps those bands were edging towards middle-class but, alongside the 1980s legends like Stone Roses – there was that spirit of the proletariat gaining control. Rebellions and upheavals have, historically, been led by those underfoot, under-heard sectors of society who are ignored by the government. Back in the 1990s, before Labour came in, there was the feeling Britain was drifting and disconnected. Oasis’ glory and music spoke about modern life in a way that was fresh and honest. It was not manufactured or directed to impress the big labels: the lads produced music that came from the heart and was born on the streets.

The sort of modern equivalent is Grime and Hip-Hop. Modern Rock idols, aside from the best newcomers, either lack the common sense to talk about Britain as it is or are from privileged backgrounds. Labour are staking the middle-ground out and are seen as leaders-in-waiting. Jeremy Corbyn has helped mobilise and vocalise the working-classes but the musicians who are charged with documenting social commentary are letting the side down. The Tory government have made a mockery of the nation and the democratic process has not resulted in positive change and development. The majority want out of Europe and elect a leader who is posh, painfully out-of-touch and powerless. If the misguided masses are unaware of what’s best for Britain; it seems there are music lovers who know the likes of Oasis are a necessary tonic and counterattack. An Oasis reformation cannot cure the lack of working-class faces in the mainstream but it would compel others to take action and change media perspective. Even if Noel and Liam are wealthier than they were in the early-1990s; they have not changed who they are and what they believe. Oasis would produce their eighth album that, one hopes, would have the same ideals as Definitely Maybe but mix in different sounds and ideas – get Liam charged in the booth and have Noel craft some new licks and massive choruses! Modern bands are critically endangered and there is a musical global warming. The pollution from the vague Popstars and the generic Alternative bands has warmed waters once teeming with life and innovation. Oasis’ departure from music left a vacuum that has not been adequately filled.

The music of Oasis is timeless because of the quality songwriting and incredible performances. It is not a nostalgia trip holding dear the treasured times of the Manchester band. The songs have relevance today and, with the need for a new Labour charge – the same as when Tony Blair came to office in 1997 –, there are parallels between now and when Oasis ruled the land. If the street poets of Rap and Hip-Hop are keeping the beat and realities of the street firm and uncompromising; there are no popular bands who are prepared (or in any position) to talk about the Britain we live in. I am not suggesting we expect a happy reunion an instant return to the 1994/1995 heyday – that would be impossible for many reasons – but there is an appetite for new Oasis record. Liam is up for it but Noel less so. Maybe it will never happen but the Christmas olive branch was a big step towards reformation and cordiality. The Gallagher war has been raging since the late-2000s and one cannot go from a mutual dislike to a close-knit bond. The thing is; the brothers always had that rivalry and difference – it exacerbated when the band got famous and various influences (human and substance-wise) impacted the lifespan. If they learnt from those times and cleaned the slate. Maybe I am a dreamer but, to quote John Lennon, I’m not the only one. The sensible and rationale majority have their voices ignored when it comes to the vote; they want to remain tied to Europe and see a government who protects our best interests come in. That might not happen for a bit but music can take a stand and lead a revolt. If Oasis did reform; we would not want the guys to change and fake a persona. Do not adapt, dilute or bargain – we all want you to be exactly…

PHOTO CREDIT: Getty Images

AS you were.

FEATURE: The S-Words: Sexuality, Sex and Social Media

FEATURE:

 

The S-Words

 ALL PHOTOS (unless credited otherwise): Unsplash

Sexuality, Sex and Social Media

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TOMORROW provides me the chance to wrap up a few…

idea and pieces I have been meaning to get out. Aside from a review; I will look at album covers that have defined this year – negatively or positively – and why Oasis’ music/legacy is reigniting flames and excitement; some of the all-time great albums and why they remain so important; the ‘civil war’ of U.S. and U.K. music/journalism; I will cast the spotlight on a fantastic Australian duo – and conclude a busy and eventful year. It has been a good one (in terms of my work) but I am not taking any time off: Monday sees me look at a few new topics and keep the ball rolling. I will look at new ambitions and how I want to develop my site but, before then, I have hopes and fears regarding 2018. The reason I have highlighted sex, sexuality and social media – and provided quite a proactive image at the top – is the way sexuality and gender are still major sticking points in music. We have heard a lot of good news from music and there have been some terrific albums released. Glastonbury was a raging success and we saw some new artists come to the fore. All things considered; it has been a productive year of music with the best sounds showing how advancing, talented and original our best musicians are.

I expect that to continue in 2018 and am excited about the big albums and underground artists who will add their mark to the year. Away from pure music, we need to look at the imbalances and downsides that have been hidden to a degree. I have spoken a lot about sexism and the way female artists have been given fewer opportunities and platforms than their male counterparts. It may sound like my revisiting trodden ground but it seems like the best way to end 2017 – almost, at least. This is less a coruscating article: more a suggestion and guidance for the music industry as we head into the New Year. I marvelled at Glastonbury’s headliners but saw no female presence; I looked at other areas of the industry and, between festivals and award nominations, saw that male dominance. Whilst I grant you male musicians have been riding high in festivals for years; that is not an indication of dominant quality and commercial appeal – more a lazy and routine booking by the festival organisers. The need to break away from the boring and commercial should see fewer male artists given prominence; more female artists coming into the fold and being provided equality. Parity is what I am concerned about, really. I feel there has been a bubbling, unresolved sexism that has not really been challenged by male artists.

Journalists (male) have ignored the issue and, weirdly, it is seen as okay and normal having that gender imbalance. I have seen cases of female artists abused on stage; male performers demean and degrade female artists; others sexualised and exposed because of their looks – the impression female artists are weaker, inferior and objects still exist in some areas. Whilst not as toxic and widespread as it could be: I feel those in a position to change things have not been given the kick needed to go about it. That is the responsibility of journalists and male artists – I feel like I have done my part but the bigger names have not played their part and exposed the gaping wound of sexism in the industry. The rise of strong Pop artists and hot newcomers means next year will see talented female artists get a say and impress. I wonder whether there will be any changes so they are not held back from festival slots; their music is treated the same as the guys; they are not promoted because of their looks and bodies – given the chance to show what incredible artists they are...

Sexuality is another side of music that is provided scant coverage. Earlier this year; I talked about, in various pieces, how sexuality and sexual orientation are still seen as taboo. Mental-health is being discussed a lot more but I wonder whether the outpouring of professions and openness is strong enough for the industry to bend and care for artists overworked, unhappy and struggling. I know there are a lot of problems that need tackling and I do not want to talk an alphabetic approach – nearly every letter of the alphabet will be covered! I know a few gay artists and they are proud (rightly so) of their life and how they express themselves. There are Pride festivals in Brighton and London that celebrate difference and unity: how homosexuality should be expressed, celebrated and normalised. That may sound like an odd word to use but I feel gay artists are afraid to explore their sexuality in music; been afforded the same chances as straight musicians – fearing they’ll be seen as outsiders or a niche act. There are/have been many gay artists in popular music – from Elton John and George Michael to Lucy Spraggan. Bisexual artists like (Fifth Harmony’s) Lauren Jauregui and Halsey are proud of who they are and have opened up about their sexuality. There are more L.B.G.T.Q. artists than ever before – proving sexuality is a spectrum and complicated thing.

IN THIS PHOTO: Lauren Jauregui/PHOTO CREDIT: Getty Images

It is not a binary decision – being gay or straight – but I know there are many more artists out there unafraid to come out through fear of isolation and judgement. I agree we have become more accepting of sexuality – in the music industry at least – but there is still a lack of education and awareness among many. Homosexuality is something that should be emboldened and assimilated into the mainstream more readily; not seen as something unique and odd. I know of a few gay artists who feel, as they plan their sounds and aim for the mainstream, it is going to be hard expressing their sexuality and revealing it. Friends and colleagues know they are gay but is there still a stigma attached to coming out? Those popular artists who have revealed their sexuality (bisexual, homosexual or transgender) have been met, in the most part, with applause and respect. Hopefully, that will destigmatise the nature of sexuality and see those artists afraid and concerned feel brave enough to reveal their sexuality and be met with affection. The music industry has a problem and, even though there are more members of the musical L.B.G.T.Q. but the rainbow is being dampened by cloud and mist. I am not suggesting special dispensation and accommodation needs to be afforded gay/bisexual artists: they do not want to be treated any differently to anyone else!

Whilst gender and sexuality and high on my list of ‘things we need to tackle and treat with compassion in 2018’ I am concerned social media is losing control and focus. Maybe it has always been a place where one takes chances and is not necessarily safe. Former President Barrack Obama, when interviewed by Prince Harry, warned us of the dangers around social media. We are spending too much time on Facebook and Twitter and, with it, our physiological health is being affected. I have, again, spoken about social media and how promotion and music-releasing is less physical and more electronic. Modern artists NEED to spend a certain amount of time on the Internet: many are supplementing that with social-time and, when you look at it, hardly getting any rest and time for detachment. I have heard a few cases this year when online bullying and ill-advised comments have claimed lives. An adult film star, August Ames, hanged herself this month following abuse online – following accusations of homophobia. It was a shockwave and reminder about how hurtful comments and the effect social media has on us can have devastating consequences. I have heard of other suicides and, considering a couple of high-profile suicides in the industry (Chris Cornell and Chester Bennington); I feel musicians should be encouraged to spend less time online.

I realise promotion and popularity stem from a savvy social media plan and constant dedication. That does not mean one needs to spend every waking hour on social media. The more tired we get the worse our decision-making process is; we make mistakes and say things we regret; we are subject to harsh comments and, because we are tired, that means we are likely to make errors of judgement and feel alone. The more we immerse ourselves in the digital world, the more distant from the human connection we become. Many use social media as an alternative to a life where they feel misunderstood, unheard and unhappy – feeling people online will understand them and provide friendship (artificial at best). It is hard separating social media work-life (not too much time on there) and any personal downtime. Musicians are required to push their work and get it out to people. That involves social media and a lot of time sending emails. Not only is the endless work and exhaustion affecting their creativity and ambitions; it is fixating and obsessing the mind so there is little/no time in outside world. I am worried many musicians are open to the worst traits of social media – abuse, trolls and the way we cannot wean ourselves off it – and need to heed the kind of warning Barrack Obama has provided.

I know music will make changes and take responsibility in 2018. Those S-worded subjects are a few big things I hope will be afforded more exposure and investigation. I have seen improvements and small changes. Discussion and anger (positive and negative) have highlighted how female artists are still downplayed and seen as minorities; a lot of gay and bisexual artists lack the confidence to express who they are and discuss their sexuality through music. I have not spoken about race and other sides of music that have troubled me – maybe I will have to leave that for another day. This is not new ground – and I have spoken about all these things at various points – but, months down the line, seen few changes and little advancement. Maybe, when we look at how to improve musicians’ lives, we should take an alphabetic dynamic. Starting at ‘S’ might be a weird place to start but I am seeing too many artists lose out, suffer and go unnoticed. If those in a position of influence – the government, labels; executives and journalists – helped challenge sexism and sexuality; helped raise issues around social media and the pull the Internet is having on artists (and all of us) that will be a positive and…

NECESSARY difference.  

FEATURE: Terms and Conditions Apply: Is Consent and Copyright Laws Holding Back Creativity?

FEATURE:

 

Terms and Conditions Apply

 ALL PHOTOS (unless credited otherwise): Unsplash

Is Consent and Copyright Laws Holding Back Creativity?

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HOW many of us sign up to a website…

or register with a company and blithely skip past the terms and conditions?! There is that box we need to tick to say we have read them: few of us open up a page and read everything that we are agreeing to. Most of it is harmless, boilerplate stuff - we are not agreeing to give away our lives and consent to inhuman experimentation. It is a perfect opportunity to exploit someone but I guess most of us are too busy and unconcerned by what is written in the contract. As I say; a lot of the websites have the same terms and most of it revolves around minor things that are not going to harm anyone. I wonder whether, among the codification and numeration are pillars, posts and points that are, in a subtle way, stripping liberties and revoking any degrees of privacy. How much of the information we share online is being used by companies (we sign up with) and are we exposing ourselves to a lot of hassle down the line? Unless we read every page of every site; we are never truly aware of the small print. One of the most challenging and irritating parts of being a music journalist is how often you have to carefully select information and photos you can use – through fear of copyright infringement and intellectual theft.

A piece I wrote last week – looking at the best music photos of all time – has to be scrapped and deleted because I got a fair few of the photos from a music website. I credited the photographer of each but, in one of their sub-menus was a terms and conditions option that prohibited the unauthorised sharing of their material. That was fair enough but I felt that link should have been visible and listed with the photos. I did not know to go check and assumed that, if I credit those whose work I am using, there would be no issue. Maybe that was naivety on my part but it seems like there are needless restrictions imparted. If you are using someone’s photos/information to make a valid point or do good then what is the use in imposing these limitations? Anyone could copy a photo and use it where they want – the downfall in my plan (was that) I tagged the website in questions when I shared the feature online. If I did not then they would not have known where to check; they would have been blind to the (unintentional) use. All I wanted to do was celebrate someone’s good work and was not misrepresenting the information and using it to voice controversial opinions and perpetrate libel. I can understand the need to protect privacy and restrict use: some journalists may use information/photos to help voice racist views or vile onions. In those cases; you do not want that person to have free license regarding your work. In this occasion, I did ask the website if I could use the photos but they declined – no real rationale or explanation.

If you are going to be urge people to ask for written permission before using images, and refuse them without explanation, then is anyone ever going to do that?! I have to read everyone website to make sure they are not going to sue me and force me to remove their work. A lot of the websites have privacy/copyright-related pages but it is not always clear whether you can use their data without permission or their words apply to bigger publications/sources. Sometimes; there is a blurred line between intellectual theft and appropriate representation. I would rather than a risk and use information/photos without consent – so long as I have read their conditions and feel I have committed no wrong – than have to email/write to everyone and wait to get permission. That might seem like an unwise move but, so long as one makes checks and makes an ‘honest mistake’ then you cannot fault that. I will come to look at the creative ramifications but there are similar obstacles when musicians want to use other people’s songs/sounds to sample. An artist can easily cover a musician’s song – they do not need to get permission but it is polite to ask – so can, in theory, mimic every note and vocal and use that version in a song. That would be a sound-alike sample but is not the original – it is all legal; albeit a time-consuming solution. What is the difference between a cover version where you can replicate a song note-for-note and getting the original? Artists are protective of their work and do not want to secede rights to have their material disseminated and used any way another artist sees fit.

PHOTO CREDIT: Getty Images

Rigidity and litigious barriers mean there are far fewer sample-laden albums like we saw in the 1980s – the likes of Paul’s Boutique and 3 Feet High and Rising (De La Soul). Those artists had a hard time putting the records together but I know it would be THAT much harder getting permission today – musicians are concerned about piracy, legalities and financial reward. If an artist used a song and that album garnered big cash for the musician – how much money is going to the artist who granted access?! Some argue these measures protect musicians and means songs do not lose their ethics and independence. I feel there are better ways to go about things. If an artist agreed to a percentage cut – granting a set amount of profit to the permission-giver – then what is the harm granting permission? That would solve issues around remuneration and, so long as they fully informed the musician how they were using their song(s); they would rest safe knowing it was not going to be mangled and mutated. Things are not that simple and it is a problem that feeds into journalism. I was annoyed to lose a piece that looked great on the page but it was not a fantastic loss. I could have survived a refusal if they explained their decision and felt I was going to misuse their photos. That is not the case (on either point) so that makes me feel everyone is going to provide short-shrift.

As I said before…there is ambiguity on a lot of sites so is the workaround making sure you phone/email everyone? The problem with that approach is waiting however long to get an answer. If they say ‘no’ then you have wasted your time: how long will it take to get an answer and any sort of legitimate reaction? Even if they do grant permission; how can you tell, from a causal observation viewpoint, whether that has happened? Are you going to put the email (with permission) on the page? The original source knows you have asked but nobody else does. A lot of great journalism stems from instant reaction and efficiency. If there is a hot issue that needs dissecting then you will want to get something online quickly. That might involve, as I do, research and cross-referencing other sources. I never replicate and rip-off an article or amend any journalist’s words. I always keep it faithful and contextualise my usage. It is never inappropriate and always used (the material) in a positive and substantive way. I can understand the need to preserve sensitive information of personal photographs. Ensuring they are not put into the ether is fine but most journalists are not looking to defraud and play games. I would be completely happy for someone to use my words and do not have any limitations on my website. That might leave me open to exploitation and legal issues but others can quote my reviews and features.

Artists ask if they can quote some of my reviews (about them) for promotional reasons. It is not a demand from me: they do it as a courtesy. I do not put anything official down and know anyone who comes my way is going to purely and faithfully use my words. I look at the tabloid world and see photos of celebrities plastered over their front pages. I am sure the featured figure did not give their consent to be pictured and have no say how their image is used – they do not get a say regarding the story attached to it, either. They are immune from privacy rights and are open to scandal, harassment and gaudy revelations. I know the music press is more respectable and noble but why does one side of the press get to break rules and violate confidentiality when another, much nicer and educated, have to struggle to acquire the same level of access?! In my case, I am never using too much of anyone else’s information. I would be honoured if I saw my words quoted (in the right context) by someone else. Obviously; you cannot monitor everything and know what happens with your work – some of my stuff might be out there in another place! – but I  am not one for squashing creative freedom and promoting debate. If every magazine and website made writers ask for permission and risk facing rejection every time they ask – how will journalism ever grow and evolve if we are too stringent and strict?!

I am happy enough to send an instant message/email to every site with my website and say why I want to use their words/images. Because I am a minnow; there is the endless reality they will refuse me because I am so small. The logic is, from my viewpoint, I am not likely to create duplicity and abuse their trust. I am a humble journalist who wants to aid my work and create some interesting pieces. It is music journalism so there is not really anything deeply personal and explicit I am using. Most of the words are opinions and quotes; studies and interviews – something anyone can read and use on social media. People can legally share that information on social media (if they know how) so why stop journalists from using the information in a factual and informative way? The issue is complex but I can see no real reason why sites are so protective and legal-minded. I have seen other websites use photos – that they do not have expressed permission to use – but do not report them. That would breach their own rights and is not my place. Getting permission seems like (that site) have access to monitor and control what I do. You can say the blind taking of information/photos means the author/creator has no control and is open to a world of problems.

If you want to ask every person to get permission for every bit of information you use; I feel there is a quicker way of doing things. Click on a photo/article and give them an option to put your website in a form; their name and email address. That will go to a moderator who will instantly review the request and give s response. It covers the bases and means journalists get a quick reply – and can engage in conversation if the website is reluctant. The way things are now mean many are fearful of rejection – meaning their creativity is limited and they are unable to progress music journalism. Debate, engagement and discussion is crucial in the modern age and part of that is sourcing other portals of information and sampling other people’s work. There is a bias and sense of subjectivity if I only use my own words: bringing in another side/journalist means I can back up my argument or bring in a counter-balance. I know the rules around intellectual theft are defined when it comes to music-sharing and sampling. There have been high-profile court cases regarding plagiarism (Led Zeppelin one of the more recent examples) and that was a costly and truncated court case. That example might have been an opportunistic lawsuit or mistaken assumption – does a journalist have to suffer the same fate if they use someone else’s material. There are definitional differences and practical exceptions but, when it comes to it, there are hoops journalists need to go through in order to use other people’s information/photos.

I understand the desire to protect your work and not have it misused but it should be a lot easier for journalists to get permission – and have a fair shake and not be instantly rejected. There are so many issues and subjects that are ripe for investigation and challenge. The music industry is facing change, accusations and struggles in various quarters. Documenting these (sides) and exploring avenues is a vital way of provoking conversation and, ultimately, change. I see so many websites produce pithy and vague articles because they have no competing arguments and sources they can quote from. There is this culture of over-protectiveness that is stifling examining, debate and quality journalism. With no sense of morals and legality in the tabloids and other parts of the industry: why should music journalists have to face challenge and boundaries? It is an argument where I can understand the other point but I am frustrated it is so difficult when it comes to quoting from others – and the amount of time one waits to get rejected for asking nicely! Next year will see music take on a bigger role and shifts occur; issues around sexism come to the fore and the desire for reasoned and productive debate. Journalists are charged with leading the movement and talking about things important and meaningful. I wonder if we can do that if there is compartmentalisation and endless terms and conditions imposed. Making allowances will not only lead to better journalism and a more open industry; easier channels of dialogue and permission-giving means more aspiring journalists will be bold and brave with their work. Music journalism is never going to advance and grow if there are needless restrictions. In the interest of parity and transparency…

YOU can quote me on that!

FEATURE: Blinded by Silence: Why Environmental Issues and Climate Change Is Everyone’s Responsibility

FEATURE:

 

Blinded by Silence

PHOTO CREDIT: Getty Images

Why Environmental Issues and Climate Change Is Everyone’s Responsibility

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WE are still enjoying the leftovers of Christmas…

PHOTO CREDIT: Jonathan Gregson

and preparing to soak our livers in the fruitiest, most-lethal and intoxicating drinks we can get our mouths around! It is a rather peculiar time of year: I wonder why we celebrate New Year and whether people actually use it as an opportunity to make real changes and be a different person. People do not change: it is a fact that has been shown through history and in every neighbourhood. Although people cannot change huge character flaws and stubborn D.N.A. – there is the ability, in everyone, to make small changes. When 2018 strikes; it will open up a fresh year and we will all be making ill-advised plans. Each of us has some sort of resolution we want to fulfil but most of it surround ourselves. We might amend our diet or commit to being a bit more active and ambitious. This year has seen some horrible political unfolding and the people are more split than ever. Few can ignore the natural disasters and weather-related events that have struck the planet. From wildfires and floods to earthquakes and record levels of snow – countless lives have been lost and the toll on the planet has been severe. I am not exactly Al Gore when it comes to global warming but have become more aware of the plight of the planet and what we are doing to it. An increasing population and the increase in travel are reasons why pollution levels have risen and are create damage. That is a simplified deduction but is part of the problem.

PHOTO CREDIT: Unsplash

In some ways, music is part of the issue: it can also aid awareness and help bring about change. It is not a new phenomenon: the music industry has been causing problems for years now. I am reading an article published in The Guardian back in 2010 that highlighted the carbon footprint left by some of our biggest acts:

“Each year the UK music industry is responsible for around 540,000 tonnes of greenhouse-gas emissions, according to researchers from the UK and US. Three-quarters of this is due to live music performances, while the rest is caused by music recording and publishing.

"This is the first study to map the greenhouse-gas emission profile of the music industry," Catherine Bottrill of the University of Surrey told environmentalresearchweb. "Furthermore, there are few publicly available studies of service industries and we can't think of one directly comparable."

The study was commissioned from the University of Oxford's Environmental Change Institute by Julie's Bicycle, a non-profit organisation launched by UK music industry heavyweights on the eve of Live Earth in 2007.

"In a highly competitive industry such as popular music, this type of co-ordinated approach is unusual, but provides the opportunity to build consensus and develop rapid strategies for a lower-carbon future for this sector," write Bottrill and colleagues Max Boykoff from the University of Colorado Boulder, US, and Diana Liverman of the University of Arizona, US, and Oxford University, UK, in a paper in Environmental Research Letters (ERL). "A number of artists are firmly committed to social and environmental issues, such as Annie Lennox, U2, Sting, K T Tunstall and Peter Gabriel to name a few, but until the efforts of Julie's Bicycle, these artists did not have the co-ordinated support of their industry behind them."

PHOTO CREDIT: Getty Images

“According to Bottrill, there was a need for an original piece of research because information about the industry's greenhouse-gas emissions was very limited. "There existed only one major study about the greenhouse-gas emissions produced in CD production and distribution, and also a few artists have done an emissions audit of their tours," she said”.

I highlighted this part of the article because it brings together two elements of the industry: the travel and number of miles covered by big acts and the production realities of C.D. and vinyl. Last year, Rolling Stone published a piece that looked at the plastic pollution we create:

“How much garbage does a typical music festival generate? The 2015 Bonnaroo Music and Arts Festival, with roughly 90,000 attendees in Tennessee, produced more than 679 tons of waste over four days. That's 15 pounds of waste per festival-goer — nearly twice the average amount a U.S. consumer uses daily. The biggest component of that waste was single-use disposable plastic: water bottles, beer cups, straws, utensils, wrappers and packaging”.

They might be slightly different worlds but, in a sense, what we are dumping in the oceans/rivers is affecting our planet. It may not rip a huge hole in the ozone but it is killing sea-life and means, before long, there will be more plastic in the sea than fish! The article explained how changes are being made – why organisers and festival heads are being more conscientious and proactive:

“Many other artists, including Maroon 5, Ben Harper, Keb' Mo', Bonnie Raitt, Dawes, Jackson Browne, Athena, Tom Petty and the Heartbreakers, Moxie Raia and many others have reduced plastic pollution on tour through both practices on the road and policies in their riders for venues, and some talk directly to concertgoers about the issue.

 PHOTO CREDIT: Unsplash

Their fans are joining the movement. In 2014, Rolling Stone explored Refill Revolution, Bonnaroo's program in partnership with the Plastic Pollution Coalition (PPC) and Steelys Drinkware that encourages attendees to purchase or bring their own refillable stainless steel cups, bottles and containers. Organizers invested heavily in these efforts with  dedicated staff, volunteers and information-tracking. Their 2015 Clean Vibes program recovered an incredible 67 percent of the gathering's total waste output, saving nearly 200 tons of waste from going to the landfill. The first year, 2014, resulted in a reduction of waste by 400,000 bottles or cups; in 2015, that impact nearly doubled. This year they continue to scale up the number of reusable cups and bottles for attendees, while PPC continues to discuss its Plastic-Free Touring initiative with artists and management teams”.

The music industry creates a lot of pollution/problems but is more aware and motivated than a lot of sectors. C.D.s are less-common than before but we still consume a lot of vinyl. The chemicals and materials used to make vinyl – and to ship it to the consumer – means there is a lot of damage done that we do not even realise. If the humble C.D. is being replaced by streaming services; does this mean the digitisation of music is leading to a pollution-free industry?! I am pleased to note festivals are recognising heaps of rubbish and gases being released – mountainous piles of toxins/plastics are not the way to tackle the evident changes to our environment.

PHOTO CREDIT: Unsplash

Have these changes come too late?! We all know how much rubbish is accumulated at festivals; the sort of crap discarded by the average festival-goer – and the sort of pollutions produced by factories that produce C.D.s/vinyl. If the move from plastic bottles is an aim to prevent further depletion and destruction; I wonder whether other areas of the industry need to be addressed. We still produce an awful lot of material in the industry. If C.D.s and plastic bottles are being reduced: what about merchandise, music gifts and electronic products?! The factories and processing plants these are manufactured are not the greenest and most economical. Small changes are coming in but that does not mean they are free of pollutants and chemicals. We cannot stop people buying gifts and giving their money to the industry: we can ask questions that force manufacturers to look at the materials they are putting into their products. Reducing the plastics and chemicals we use will make a difference but I am concerned the carbon footprint created by travel is a bigger threat. Even the smallest artists need to travel and get around the country. Air and road transport are the ways to link musicians to fans but, when you see the big artists, the number of miles they cover is eye-watering. From continent-spanning flights to the long hours on the road – what is the price of that embarkation and distance?!

PHOTO CREDIT: Unsplash

Air travel is an industry that struggles to keep pollution down and it is a lot more complicated than adding catalytic converters or going electronic. Cars are not even at a realistic stage where they can switch from gas to electric; factories are not doing enough to reduce their damage – what kind of impact are flights and road travel doing to the environment?! Again; it is hard to limit and ration musicians who are in-demand around the world. They cannot stop going on the road but, like festivals aware of the plastic pollution and littering population – should we take measures to limit the damage being done?! Gigs can be streamed and I worry whether the closure of local music venues is forcing artists to travel further to get attention. We always need to look at the survival of our smaller venues but, with the advent, rise and dominance of the Internet; can we streamline and focalise gigs? It does not have the same effect and sound as an arena/stadium gig but it would solve another issue affecting musicians: the fatigue and depression caused by endless touring and work. Their physical and mental wellbeing is important and needs to be preserved; the environment needs protecting and safeguarding against repeated assaults – surely these are vital and blunt enough to stop many in their tracks?!

PHOTO CREDIT: Unsplash

I wonder how many of us watched the David Attenborough-narrated Blue Planet II and marvelled at the colours, sights and underwater spectacles! Even during the series; we were told about coral being blanched and the depletion of the natural world. The waters are warming and that is killing off sea-life at a disturbing rate. This year has seen one of the coldest winters in the East of the U.S. and means trillions of dollars will need to be found to reverse the damage. The bigger artists become, the more people want to see them; more physical units are produced – although streaming has alleviated some of the burden – and the consequences are severe. Although the music industry is responsible for causing pollution and adding to the burden placed on the environment; there are way it can rally, support and change. I wonder whether we need to start thinking about the way climate change is affecting people. Back in the 19870s; Sir Bob Geldof realises the famines in Africa were too much to handle – something needed to be done to help them and make the world more aware. Rising temperatures are exacerbating a plight that is worsening; developed nations are experiencing more natural disasters and climate-related catastrophe; the seas are being poisoned and the air is getting dirtier. I have argued how we could get a charity/body organised where concerts/events are run to raise awareness/funds to combat problems in the world. Depression and anxiety is claiming lives whilst online bullying and the downsides of social media impact musicians. Pollution, climate change and natural desecration is not solely because of musicians/fans and their part: everyone on the planet has to take some slice of the blame.

PHOTO CREDIT: Unsplash

There might be a huge irony getting artists together at a huge concert; get them from all around the world and produce a lights-and-warts spectacle that compels the world. Maybe that was what we saw with Live Aid but a greener, more practical alternative could come about. Instead of all artists coming to one location, they could all perform in their home locations and there could be a day-long series of events. Maybe a plastic-free, environmental-friendly concert could be held (that would limit damage normally done) and all proceeds go to charities concerned with climate change and protecting the planet. A concert will not cure the issues we face – same can be said concerning depression – but is an important step that would make people see the music industry accepts its role and is taking steps to remedy the problem. We cannot get a clear reading of how much pollution is being caused by the music business. Manufacturing pollution is less severe than before – due to streaming and digital music – but travel, littering and other factors have not gone away. Music is a fantastic industry and one that can help motivate and inspire the rest of the world. Putting on a concert/event that highlights the damage we are doing to the planet – if the likes of Al Gore have not already done that! – is a good start but, going forward, greater awareness from everyone is paramount. They need only be small steps but thinking about our carbon footprint, and the amount of plastic we use/discard, is a possibility. Musicians need to think about their role and be conscious of the pollution created by long-distance travel and their concerts. If we all make a concerted effort to (help) tackle climate change; it will mean we can do something about a growing and potent problem…

 PHOTO CREDIT: Kwest/Shutterstock.com

THAT affects us all.

FEATURE: In Your Honour: The New Year's Honours Playlist

FEATURE:

 

In Your Honour

 IN THIS PHOTO: Ringo Starr (who has received a knighthood in the New Year's Honours list)/PHOTO CREDIT: Scott Gries/Invision/AP

The New Year's Honours Playlist

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IT was about time Ringo Starr was recognised…

IN THIS PHOTO: Bee Gee Barry Gibb (who also received a knighthood)/PHOTO CREDIT: Getty Images

and given a knighthood! Paul McCartney got his long time ago and I wonder, because the Queen feared he might reject such an accolade – she was reluctant including Starr in her list of honoured figures. I am delighted he has been dubbed a ‘sir’ and it recognises what an impact he has made to music. That was not the only music-related honour announced. Musicians Marc Almond and Wiley were OBE and MBE respectively. Their music, in its own way, has changed the world and it is only just they should be mentioned. I am thrilled surviving Bee Gee Barry Gibb has been awarded a knighthood – I suppose it is less an award and more of a noble rite of passage. Those most inspiring and influence deserve the sort of recognition and honour most of us envy! Gibb’s Glastonbury set saw him enthral crowds and show that he still has that magic touch – years after the Bee Gees called time. Not only that but actor-cum-musician Hugh Laurie has received a CBE. He has provided so much to the world of entertainment – his music is a part of that. I am really pleased he has received the CBE and I know it will mean a lot to him! In honour of those musical figures who will have been singled out in the New Year's Honours list; a playlist that collates their finest moments that help remind us…

 IN THIS PHOTO: Hugh Laurie (the musician and actor is awarded a CBE)/PHOTO CREDIT: Getty Images

WHY their accolades are richly deserved.

FEATURE: How to Win Fans and Influence People: 2017’s Trends and 2018’s Promise

FEATURE:

 

How to Win Fans and Influence People

 PHOTO CREDIT: Unsplash

2017’s Trends and 2018’s Promise

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I am looking forward to 2018…

PHOTO CREDIT: Unsplash

because it provides a chance to shed off the bad of this year. That sounds all-negative but there have been some bleak times in 2017. In terms of work, personal life and happiness – as I have revealed before – it has been a very challenging and forgettable one. I am not prone to the tradition of resolutions – they get broken and it seems rather meaningless if you do not enforce them every day of the year – but having resolve is a different thing. Rather than a promoted, cliché list of well-meaning, half-arsed resolutions; it is better adopting a utilitarian, sentient approach that looks at the entirety of life – rather than narrowing down to diet/love etc. It is good having aims for a fresh year: the desire to change is something few of us are compelled to do. Sticking with those aims is harder than one might think. I feel, given the Satanic-sized log of 2017; I have no choice but to take a rather drastic and severe approach to the year ahead. Few of my concerns and goals revolve around anything as poultry as dieting and exercise. Music has been the saving grace of my year and something that has brought pleasure and fulfilment. I am going to dedicate my time to journalism, of course, but take a different approach.

PHOTO CREDIT: Getty Images/Press Association

Rather than spend hours at a laptop typing pieces; the need to get out and engage with the people is paramount. Having London on my doorstep means there is an easy and convenient link to all the biggest venues and artists coming through. With drive comes ambition – I am keen to include bigger acts into my repertoire rather than fledgling acts with less of a visual eye (and music that has fewer fans and will get me less exposure). Making my site more multi-media and cross-platform is not only a good way of adding social catalyst and meaning – it means my work gets to more people and is afforded a more visual/audio angle. I love the way my site looks but I limit myself in terms of scope. I will include more videos and features; looking at classic albums and launching a new interview feature; plotting a new all-encompassing website and trying to rival the big sites in music. Personal development is on a par with personal enrichment – something that is evident in the wider music industry. Whilst it is important to aim high and be ambitious as you possibly can; looking after your health and mental well-being is equally crucial – one cannot be a sustained and energised success if the mind and body are flagging. Health and happiness are solid goals but prone to entropy and the unpredictable winds of life. One need not take big steps but making small changes here and there can make a big difference.

PHOTO CREDIT: Unsplash

One of the things, to me, that has defined 2017 is a sense of exhaustion and strain. I have heard a lot of great music but, worryingly, there have been so many social media statuses that border on suicidal. Artists are being pushed/pushing themselves to the ragged ends and that is creating scars (mental and physical) that makes me worry too much pressure is being put on the shoulders. I am determined to give myself more downtime and care less about numbers, visibility and popularity. To remain relevant, one must remain prolific and consistent: if that comes at the expense of your passion and health then that means the long-term repercussions will be telling. It is counterintuitive taking a more relaxed approach to music but, for musicians and journalists alike; quality will increase and you will be healthier and more relaxed – if it means you are not mega-massive on Spotify and on BBC Radio 1’s playlists, then so be it! Although the modern market suggests an every-hour-of-the-night-and-day mandate is the way to get big and noticed – we need to collectively counteract and highlight the effect it is having on the mind and body. I feel, creatively and intellectually, music is as hungry and curious as it will ever be. The biggest aims for 2018 should revolve around the work-life balance and ensuring there is adequate room for relaxation and recharge. I will come onto the trends (musically) of 2017 – and where next year’s music will go – but want to highlight why small, grassroots personal improvements can go a long way.

IN THIS PHOTO: Flinders Street station, Melbourne/PHOTO CREDIT: Unsplash

Among my smaller goals for next year (not resolutions; part of the overall plans) concern relocation, travel and sociability. I want to move to London or Manchester – both have their own advantages but it is a case of whichever bites first! – and see more of the world. I have not been abroad for years and, among my go-to locations, are Melbourne and L.A. Both are expensive trips but ones that, for musicians and writers, are essential. So few artists I know are holidaying and giving themselves chance to see the world and detach from the industry. Travel, as they say, broadens the mind: the creative portals are replenished and cleansed; you get chance to unwind and get a greater understanding of the world. The 2017 Brexit/General Election debacles, in part, have arisen from a lack of understanding – not realising how different people live and why the issue of immigration is not really an issue (that negatively impacts our togetherness and identity). Other plans I have (next year) revolve around personal relationships and love. I want to be in a relationship and prioritise those who have been there for me – discarding and ignoring those who offer nothing but stress, hate and annoyance. Too many artists/people are concerned with making big changes and racing too far ahead. Addressing smaller things that are impacting life negatively need to be tackled and remedied.

IN THIS PHOTO: Rews are tipped for big things in 2018/PHOTO CREDIT: Elaine Hill

This year has been a good one for music but one that has been defined by a certain rigidity. There has been, like all years, a variety of wonderful albums from all genres. What I have found is little to suggest Rock, Alternative and Indie sounds will claim any stronghold next year. The Pop scene has got a lot of press but I have found the sort of sounds coming out pretty dour and threadbare. Apart from promising artists like Lorde; there is too much infantile, commercial and cliché Pop sounds dominating the charts/radio. Hip-Hop has had an impressive year and given more weight and attention – Grammy nominations and some stunning L.P.s mean it will continue to grow and inspire next year. One of the best things I have seen come out of 2017 is the sense of variety, ambition and quality of newer artists. The mainstream has been good and produced stellar work but it is the fresh acts – getting play on the finer radio stations and making their presence known on social media – adding promise, health and vibrancy to the music scene. I am seeing more Electronic artists splicing other genres into the mix; Post-Punk/Alternative artists revert to the 1970s and 1980s – even though they have not reached the giddy heights yet – and a pleasing blend of progressiveness and heritage. Artists are not abandoning physical formats and sticking rigidly to Spotify: I have seen a lot of C.D./cassette releases and (artists) putting their music onto vinyl.

PHOTO CREDIT: Unsplash

If the dogma of the mainstream is to continue as normal; the maxim and mission statement of the underground is transverse and expansive: push boundaries and take bigger risks regarding sounds, convention and limitations. I will not get into all the trends we have seen regarding the business side of the industry – I will write a piece touching on that this weekend – but there is a definite split between the mainstream and underground; one which leads me to believe, ironically, there is going to be greater integration and balance in 2018. I have mentioned health and mental improvement: how we need to take more care and not be slaves to the digital demands and whip of music. There is no stigma attached to detaching (slightly) from music; finding the opportunity to see more of the world. There has been a lot of isolation and division in the country: creating a more inclusive and connected music world has to rank high in the collective psyche. Whilst there have been some interesting anomalies and patterns emerge from 2017: I am more interesting seeing how much will change in the coming weeks/months. There is an inherent and inescapable link between politics and society – how they have fared, changed and charted – and how musicians react. This one has seen some bad decisions and terrible decisions by those elected and nominated to rule – I feel this year’s most consistent and coherent sounds have come from those artists slightly under the radar.

I hope next year will see greater prominence given to personal development and reconnaissance of the mainstream – so there is an easier path and access for new artists to get their music heard. I feel the hegemony of Pop and commercial sounds will wane: more innovative and ubiquitous Pop artists will make a bigger dent. I have mentioned Lorde as a Pop exception rather than a rule – more like-minded artists will come through and steal some focus from the hollow and streaming-focused (more concerned with notching up numbers as opposed to creating something meaningful). Not only has the likes of BBC’s Sound of…2018 suggested Pop has overtaken Grime/Rap (when it comes to the newcomers) but those included are not your average chart-pining type that need others to write their songs and leave no memory in the mind. I am excited seeing how Pop evolves and what kind of music is coming through. Female musicians are going to have a big say in how 2018’s music mutates. Hip-Hop/Rap stars such as Cardi B, SZA and Princess Nokia have the talent to create year-defining music – it will be encouraging seeing these male-dominated genres shift (slightly, mind) in the right direction. Whereas some genres might take a bit longer to revive and strike – Rock and Alternative among them – I feel quality will be a defining trait for 2018.

IN THIS PHOTO: Tinashe/PHOTO CREDIT: Getty Images

Not only will the mainstream Pop newcomers place more emphasis on durability and meaning: there will be, I reckon, less dependence on the biggest mainstream stars and greater faith and belief in the new generation. The biggest shifts that need to occur – and I hope will – is to provide a bigger focus on genres like Hip-Hop; the improvement and diversification of Pop; women having a bigger say in music – parity, equality and compassion being right at the top of the tree. Maybe I am naïve but I know there is that will and desire for change – how much of that will be fulfilled has yet to be seen. The rise of new Pop; the stronger role Hip-Hop will play; the speculated albums of 2018…all things to look forward to. Apart from Jack White, Billie Marten and Cardi B; there are rumours of new Florence + The Machine material. Popstars like Tinashe will bring new stuff out whilst Tom Misch, Robyn and Jorja Smith are signalling – speculation concerning Vampire Weekend, The Vaccines and The 1975 releasing are rife.  Those aforementioned artists, between them, are making me excited about 2018 already: throw into the fact we always get out-of-nowhere surprises and epic albums arriving means it will be a fascinating, versatile and quality-focused year. It is hard to predict which of the rumoured albums will worry the poll-makers this time next year (as they announce their favourite albums of 2018). I feel Jack White will be near the top – that urge for mainstream Rock/Blues is palpable; he always provides something strange, delightful and genius!

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

If this year hasn’t been quite as strong as 2016 – the best albums of that year are finer in my view – there have been some important discoveries, trends and albums released. It has been exciting, unpredictable and ever-moving; artists treading new ground and some fantastic future-stars revealed. I am hopeful for the New Year and know there will be some important shifts and big accomplishments. It is important, for myself as much as artists out there, to concentrate on the self: music will only be strong and at its very best if you are healthy and happy (as can be). It may sound idealistic to suggest some positive-thinking is all one need – when I know the reality is far more complex. As we bid farewell (almost, anyway) to the eventful and memorable 2017: a fresh year arrives and, with it, plenty of hope and prediction. It is impossible to know exactly where 2018 will take us - but I have every confidence we will see big improvements, shifts and steps…

 PHOTO CREDIT: Unsplash

IN the right direction.

FEATURE: Pro Bono? Is the U2 Frontman Right About the Music Industry?

FEATURE:

 

Pro Bono?

 PHOTO CREDIT: Martin Schoeller (for Forbes) 

Is the U2 Frontman Right About the Music Industry?

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APPARENTLY; modern sounds are “very girly”.

IN THIS PHOTO: U2/PHOTO CREDIT: Getty Images

Those are not my words - they emanated from U2’s esteemed lead, Bono. There is a tinge of irony hearing those words from a band-leader who has not produced anything truly raucous, masculine and essential in a fair few years. U2’s latest record, Songs of Experience, has been backed by many critics and, yes, it does have passion and shots of urgency in it. One gets the sense of desperation and alarm when listening to the record: you never feel like the songs are addressing vital issues and speaking for the nation. The songs are not overtly angry: they are not girlish or feminine, either. It is as well the current U2 record has commanded kudos – many seeing it as the best album the Irish band has produced this century – but I wonder whether the comment from Bono is a hype move – a marketing tool to get people invested in Songs of Experience?! There are truisms and clichés on the record; so I wonder whether Bono should be talking about originality and inspiration in music – rather than judging whether there is enough anger in music? I get a little aggrieved when people like Bono make this kind of statement: proclaiming the industry too soft...and there is no real righteousness and indignation. He went on to say the only real anger is coming from the men of Hip-Hop – and that is not a good thing. I feel that quote has been taken out of context: he does not mean it is bad to see Hip-Hop put in the spotlight: it is a poor show seeing only one genre take the initiative (when the whole industry should be...).

PHOTO CREDIT: Getty Images

I wonder whether, as the title of this piece implies, Bono’s remarks are for the public good?! Is it wise to make statements when you head a band who are being accused, in some quarters, of lacking the spark we know they can produce?! I have been clenching quite frequently this year when reading about various musicians making statements in the press. The furore and smog of Morrissey’s latest clanger is still hot and being punted around. Whether his remarks were isolated and misrepresented – he claimed some abuse victims, when speaking about Harvey Weinstein and Kevin Spacey, knew what they were getting themselves into – or not; it has not been a great time for the biggest musicians. We ended them to lead the way and provide guidance; rather than come out with ill-advised opinions and sweeping statements. I wonder whether Bono’s comments hold any clout. One can argue the predicted revival of Rock has been rather damp and homogenised. The fiercest albums of the year – Royal Blood, Queens of the Stone Age and Foo Fighters among them – have not concerned themselves too heavily with political issues and societal cancers. Queens', to be fair, flexed their observational muscles a bit but there was never that sense of an all-out-aggressive and pumped-up record. The Disco edges added kick and swagger but lacked the teeth and motivation of earlier albums.

IMAGE CREDIT: Boneface 

I have not heard an album this year that coherently and impressively articulates the anger and frustrations of the people. Eminem’s Revival was plenty angry enough but remains scattershot, diluted and bereft of the wonder we know he can summon. I wonder if it is a case of – to flesh out Bono’s remark -  music being angry AND good?! I don’t think it is a bad thing Hip-Hop and Rap are carrying the torch for the disaffected and riled – Bono did not mean to slate them; only to suggest they are the only visible voice of rebellion – because the genre has struggled to get proper mainstream acceptance. The closer (Hip-Hop) gets to the mainstream, the better for music as a whole. While the genre(s) is largely male: it is not the case the men are the only ones capable of standing out. That is the role Hip-Hop has always played. The genre, alongside Rap, is for the minorities and the poor; the people who have to struggle to get attention and are trampled underfoot. The finest poets of Hip-Hop established themselves as the voice of those who had none. That has not changed in the modern day – even if there is not the same quality and innovation as past decades – so one should not be shocked Bono should make such a remark.

PHOTO CREDIT: Unsplash

 I agree there is not enough genuinely fresh and memorable Rock/Alternative music around. The likes of IDLES and Wolf Alice are a rare breed that does not epitomise the industry. Maybe the up-swing is around the corner – I think it will not happen for a few more years – but I wonder whether it is a case of patience and waves? The reason we had legendary bands like Oasis and Rage Against the Machine in the 1990s was (because) there was an outlet to be heard. Those bands are passionate and angry in different ways – Oasis a more positive and all-come-together vibe – but there were more working-class journalists that supported their music; they could thrive and evolve because the scene was set up for them; keen to welcome them in and stacked with like-minded artists who can challenge them and push their creativity. The reason we do not have the same angry, awe-striking bands is down to the way the industry is structured. There are comparatively few working-class writers in the bigger publications – most newspapers and magazines look for interns; those in paid jobs tend to come from more privileged stock – and there is less visibility regarding magazines. The likes of NME – once the natural destination for proper, big bands – is digital and losing its edge. Maybe there is a lack of talent and desire but I feel the cessation of masculine, angry music is the lack of understanding writers – those who have the same background, and therefore, are likely to spot potential when they hear it!

IN THIS PHOTO: Oasis/PHOTO CREDIT: Getty Images

It was the ‘girly’ part of Bono’s remarks that cheesed me off somewhat! He is making the assumption that, A) angry, proper music is being made by men and, B) anything that lacks a Molotov firebomb is wimpy and effete. U2, as I said, aren’t exactly N.W.A. or Slipknot, are they?! An ageing Rockstar – albeit it one who has helped shape music for the better – should not really make generalised, unsubstantiated remarks when his own output lacks real spirit and charge. Anger and aggression are only valid and purposeful when they have depth and speak to the people: if it is personal vitriol, or has no way of connecting with the people, then there is no point putting it onto the page. (Do we really need to hear that all the time?!). Before I take the defence against Bono; I agree we need to open the legs of music a little more – it is wearing a cardigan, sitting shyly and reading a book at the moment! That is not to say it should rip off its knickers, lay on its back and, well…you can finish the rest! Where we are now – in terms of pertinent, potent Rock – is light-years detached from the strength evident in the 1990s/early-2000s. I do not believe there is a lack of potential and ammunition out there (I hear a lot of independent acts who can provide hope) but we need to look at the structure of the industry and the artists we elevate to the highest positions.

PHOTO CREDIT: Unsplash

The dominance of privileged, middle-class artists at the forefront means many artists are concerned they will not gain acceptance and promotion from taste-makers and the public. It is not a case of Rock’s new attack being right on the horizon: the air is so thick with smog and cloud we cannot see the horizon right now. You cannot expect things to take a complete about-face without any structural changes and questions being raised. IDLES are a great working-class band who possesses anger and solid songs. They are never going to be on the same level as, say, Ed Sheeran whilst music (the charts, at least) favours the wealthy and commercial. I am encouraged by the likes of Wolf Alice and IDLES but one would be pushed to rattle off a list of fellow artists who could overpower the mainstream and provide a resistance. That is not their fault but that of the labels, media and, I guess, public. Music is becoming more insular and personal than any other time. Shows like Top of the Pops and the charts meant people would eagerly tune in and watch as the best artists in music played their latest song – we would go out and buy that and, in turn, that would build a market and compel others. Now, we do not have a music T.V. option and the charts are less relevant than ever. Streaming services make it easier to gain access to music’s bountiful bosom - but most people are ignoring the charts and proffering their own tastes. Social media has its benefits but is less powerful (when it comes to leading a rebellion) than a cohesive and populist chart/T.V. show.

IN THIS PHOTO: Wolf Alice/PHOTO CREDIT: Getty Images

There are angry, manful and primaeval artists ready to rampage and slake but, until the doors are open and the rose-coloured glasses are cleaned – how likely are they to get anywhere near the dinner table? I know Bono has not put as much thought into things as me but maybe he should. In order to give any credence to anything the likes of him say; one needs to dig deeper and look at the argument from both sides. If the ‘best’ Rock/Alternative artists out there are concentrated on their own lives and issues; do we need to look elsewhere, until we can transform music for the better, for something concrete and physical? I think, when Bono talked about the ‘girly’ side of music, he was not meaning it is a sexist way. Music, unfortunately, has not been overrun with female-made sounds nor is it too florid and sensitive. I think – I hope – he meant there was too many Electronic/Electro-Pop acts and artists who favour texture and colour over a kebab to the face? Music can only grow and survive if we welcome new artists and foster their personality. I disagree things are girlish and weak: anger, impression and spirit can come from different sources and genres. It is awfully close-minded and offensive to suggest anything that strays from Rock and Alternative sounds is, by omission, inferior and pointless. Music goes through stages and, whilst we saw a prevalence of harder sounds in past times; now, there is a wider market, and with that, one will find a less concentrated and one-channel sound...

PHOTO CREDIT: Unsplash

I think, in many ways, we are in a better position than we were decades ago. New artists can have a say and do not need to rely on a record deal; new sub-genres are coming and there is far greater choice than ever before. The recent this feature is less succinct than one would hope is because you cannot challenge/address Bono’s comments without justifying your decision – and looking at the flip-side of the debate. Maybe his was a flippant and misconstrued remark but I do agree with the assumption there needs to be a kick up the backside of the industry. Whether we can reach the same peak as the 1990s remains to be seen – I suspect not; for many reasons – but that is not to say all hope is lost. A lot of the older, established order have passed their best days and are not in the position to inspire the new generation. The most essential and energised albums, in the Rock milieu, are from newer acts; those closer to financial and personal struggle than those who are more comfortable and successful. Struggle and hardship compels great music with stature: if we are augmenting musicians who are so removed from that way of life they cannot authentically rally and protest – are we ever going to see change?! I disagree with the term ‘girly’: maybe ‘demure’ is a better term?

PHOTO CREDIT: Unsplash

Most musicians have anger in their hearts – one cannot look at the world and the way politicians are mismanaging huge issues – and not feel a sense of disgust and aggression. The reason Pearl Jam and The Who (two bands Bono named-check when looking at better days) managed to articulate and define the feelings of the masses and isolated alike was the willingness of the industry and public to open their arms (and wallets). We have a lot of angry artists playing but I feel a lot of that anger is less creative: many are angry because they cannot get their voices heard and have to fight so hard to get noticed. One cannot rationalise a remark like Bono’s without querying why we are in the position we are in right now. I agree with Bono that we need those big, epic-sounding artists at the forefront: that is impossible when there are so many issues and oversights being ignored. Rather than condemn Bono as foolhardy and offensive – maybe a thesaurus would have been a good Christmas present! – we should use it as a chance to review and challenge the contemporary order. If, as I suspect, he feels Pop, Folk and Electronic music is taking too much of the pie – what can we do to make it so the music industry has better quiet-loud, genre-mix balance? I love a lot of the less ‘masculine’ and experimental music around but feel there are valid reasons why we are seeing fewer Rock heroes/heroines emerge – that go beyond talent and quality reasons. I disagree with the way Bono expressed himself; him saying music is girly: I do agree with the fact there are fewer exciting and society-defining artists that will stick in the mind decades from now. Overriding that is a complex issue - but one I feel we need to tackle...

 PHOTO CREDIT: Unsplash

AS soon as the New Year’s Day hangovers subside!

FEATURE: Outsiders, Inside: Great Alternative, Rock and Indie Albums from 2017

FEATURE:

 

Outsiders, Inside

PHOTO CREDIT: Unsplash

Great Alternative, Rock and Indie Albums from 2017

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THEY might not accrue the same sort of hype and celebration…

PHOTO CREDIT: Unsplash

as the big names of the mainstream – but that is what makes these artists so good! I have been thinking about the best Indie, Rock and Alternative albums of the year: the sort of record that possesses more depth, intrigue and power than your average chart-bound offering.

Here are twelve records I recommend you add to your collection as soon as possible. They all bristle with energy, fascination and outsider-kick – from some of the best songwriters in music right now…

ALBUM COVERS: Getty Images

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The National - Sleep Well Beast

Release Date: 8th September

Label: 4AD

Critical Snapshot:

“Some will fault the National for not evolving their sound more radically, or speaking more explicitly to the political moment. But Sleep Well Beast is what it is: an emotional battlefield, beautifully drawn, familiar and true. Berninger voices a panicked, depressive insomniac who might be any of us, trying to hold it together while everything falls apart” – Rolling Stone

Stream the album here.

Manchester Orchestra - A Black Mile to the Surface

Release Date: 29th July

Label: Lorna Vista Recordings

Critical Snapshot:

“Manchester Orchestra have always been earnest, though; it’s just that, until now, they’ve been hamstrung by their own impulses. By consciously interrogating everything they do, they’ve created something that doesn’t need a condescending suffix to justify its existence. It’s a new high-water mark for the band, and one well worth the pain to reach” – Drowned in Sound

Stream the album here.

Julien Baker - Turn Out the Lights

Release Date: 27th October

Label: Matador Records

Critical Snapshot:

“…By the end of the album, she’s landed on another cluster of paradoxes: “I’m better off learning how to be/Living with demons I’ve/Mistaken for saints/If you keep it between us/I think they’re the same." The way she sings it, you’d believe she’s telling her secrets to you and you alone, all evidence to the contrary. You’d believe that loving your demons—not banishing them—might just be the secret to that evasive grace” – Pitchfork

Stream the album here.

Fleet Foxes- Crack-Up

Release Date: 16th June

Label: Nonesuch; Warner Bros.

Critical Snapshot:

“Ultimately, Crack-Up is an album about purpose, mutual support and reconciliation, nowhere better expressed than in “Third Of May/Odaigahara”, the complex, nine-minute song quixotically chosen as the first single. The title refers to the Goya painting celebrating resistance to Napoleon; but it’s also, apparently, the birthday of Skyler Skjelset, Pecknold’s bandmate, co-producer and lifelong best friend, separation from whom has clearly triggered the undertow of betrayal and regret coursing beneath the album’s surface. “Aren’t we made to be crowded together, like leaves?” muses Pecknold over miasmic strings, pounding piano and guitar. It’s as if, trapped in the quicksand of fatalism, he’s urgently seeking resolution through the reflection of his life in others: “To be held within one’s self is deathlike, oh I know/But all will be, for mine and me, as we make it”. And as Crack-Up confirms, things often work out so much better when we work with others” – Independent

Stream the album here.

Robert Plant – Carry Fire

Release Date: 13th October

Label: Nonesuch Records Inc.

Critical Snapshot:

“Plucky folk ballad ‘Season’s Song’ stands out as one of the album’s highlights as well as acting as the perfect example of Plant’s intention on merging the traditional folk rock sensibilities with an epic orchestral landscape. This is a familiar trait that flows throughout the album, which acts as a melting pot of abstract ideas thrown together by Plant and his band, from the jangly African guitar lines of title track ‘Carry Fire’ to the more industrial rock and sonic experimentation of ‘Bluebirds Over The Mountain’.

While ‘Carry Fire’ showcases some of Plant’s best and most confessional lyricism, there’s no denying that this is an album that stands out most for its lusciously complex musical structures and influences, allowing for it to purvey an other-worldly quality” - Clash

Stream the album here.

The War on Drugs - A Deeper Understanding

Release Date: 25th August

Label: Atlantic Records

Critical Snapshot:

“…And that lack of articulation, that inability to identify the source of pain and the path to redemption, becomes another of the record’s themes. But all that happens beneath the surface, almost subliminally; it’s the impossible sweep and grandeur of the music that tells the real story, of how a rush of sound can take us somewhere we can’t explain” – Pitchfork

Stream the album here.

Phoebe Bridgers - Stranger in the Alps

Release Date: 14th September

Label: Dead Oceans

Critical Snapshot:

“There’s a ghostly quality from the opening note of Smoke Signals which grabs the attention straight from the start. Like many of Bridgers’ songs, it’s a hushed, contemplative ballad with the singer’s world-weary voice reflecting on the deaths of David Bowie and Lemmy, before namechecking The Smiths song How Soon Is Now. It’s the sort of song that pulls you into an album and demands, in its own very quiet way, that you hear some more” - musicOMH

Stream the album here.

Perfume Genius - No Shape

Release Date: 5th May

Label: Matador Records

Critical Snapshot:

“The “holy shit” factor of Perfume Genius has just shifted locus, then, from Hadreas’s reportage to his art as a whole. On Perfume Genius’s debut, Learning, we had Mr Peterson, a song in which Hadreas’s teacher takes advantage of him and then jumps off a building. Here, we have Hadreas’s desire to transcend his body and self – the no shape of the title – and glorious, inventive, shape-shifting music to match” – The Guardian

Stream the album here.

The Afghan Whigs – In Spades

Release Date: 5th May

Label: Sub Pop

Critical Snapshot:

“It’s worth remarking that, in the years between the Whigs’ breakup and reformation, no one could fill the void they left. Do to the Beast left me doubting that even they could do it anymore, but In Spades is a fitting rebuke to that infidelity. I still hold out hope of hearing McCollum’s guitar on an Afghan Whigs album again, but maybe I’m being overly sentimental. Ultimately, this is the best thing Dulli has put his name to since Blackberry Belle. One look at his discography over the intervening period will confirm just how good that is” – Drowned in Sound

Stream the album here.

The Horrors - V

Release Date: 22nd September

Label:  Caroline Distribution

Critical Snapshot:

“V isn’t a huge reinvention, more a subtle reboot, and a move which has worked out perfectly. The Horrors are hardly new to making brilliant albums - they did that with their previous three - but V is better than them all” – The Line of Best Fit

Stream the album here.

Wolf Alice – Visions of a Life

Release Date: 29th September

Label: Dirty Hit

Critical Snapshot:

“Rosewell (Ellie) favors melodies that feel like shouts even when they're whispers. She grapples with a predatory world that steals happiness and loved ones, and creates demands from within and without. Attention wanders during the wizardy fingerpicking of "After the Zero Hour," but production from Beck bassist Justin Meldal-Johnsen ups the focus throughout, even on the seven-minute title track, which slips from Sabbath sludge into surging space rock and back again. This is music that merges raw physical pleasure and dreamscape explorations. The stakes are high, and the payoffs are real” – Rolling Stone

Stream the album here.

Queens of the Stone Age – Villains

Release Date: 25th August

Label: Matador Records

Critical Snapshot:

“Villains, this deep and danceable delight, ends with two searing six minute tracks: the razor-blade blues of the White Stripes-ish The Evil Has Landed, and a sunrise-of-the-ancients pop finalé called Villains Of Circumstance. These are songs that refuse to be crushed, rounding off a disco-rock album determined that the villains won’t win. Bowie’s gone, it says. Trump is here. Move. Now” – Classic Rock

Stream the album here.

FEATURE: Playing the Long Game… This Year’s Most Disappointing Albums

FEATURE:

 

Playing the Long Game…

PHOTO CREDIT: Unsplash

 This Year’s Most Disappointing Albums

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BLOGS and magazines are collating and marking out…

IN THIS PHOTO: Katy Perry/PHOTO CREDIT: Unsplash

the albums, songs and artists, they feel, have defined this year. I have seen some surprises and great albums that came out of nowhere; others that have worked their way into my subconscious; some that have hit me straight away – another brilliant year for music, on balance. There have been some records I was expecting big things from, however. When announcements were made – regarding the albums – I prepared myself for something special and impactful. The hard reality is that, when they got here, it was a bit like that computer console-shaped present that turned out to be an air purifier: the energy and happiness fade out and you are left a bit cold (albeit it with some very clear and purified air!). I have been looking at the thirteen albums I felt could have been better; were a little underwhelming – with a critical review that backs up my opinion…

ALBUM COVER CREDITS: Getty Images

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Eminem – Revival

am a huge fan of Eminem’s classics – The Marshall Mathers LP riding highest in the mix in terms of albums – and realise he is one of the most dazzling and essential artists in music. His recent output has not been great so, when Revival was announced, I hoped its contents would live up to its title. Too many collaborations and a lack of real focus; lyrics not up to his genius-like standard and too many songs on the album (among the issues). There are some definite highs but Revival a record that could have done with stricter editing and wiser decisions – and more of the Eminem that struck the collective heart back in his heyday!

Release Date: 15th December

Labels: Interscope; Aftermath; Shady

Critical Snapshot:

“There are just too many pop stars here (Pink, Beyoncé, Kehlani) wailing anodyne hooks over glutinous beats. Perhaps the biggest problem with Revival – as with many latterday Eminem records – is the struggle of an intelligent fortysomething artist to evolve while somehow remaining true to the demands of his sniggery core audience of alienated males, one he knows he shares with Trump. Listening to Eminem trying to square this circle, it’s just one face palm after another” – The Guardian

Standout: Offended

Björk - Utopia

There are few people out there who have as much love for Björk as I do – I even wrote a piece stating Utopia (before it was released) would be the most important-album of this year. It is a gorgeous, mature and great record but one that takes a lot of time to seep in and compel. I was expecting more fire and innovation – some energy that recalled her earliest days – but the overall vibe is one of soothe, love and personal revelation. There are few of the fireworks and odd touches that have defined her legacy and potency. It is an album that, like a butterfly hibernating for winter, will reveal its true nature and colours in the weeks/months to come, perhaps.

Release Date: 24th November

Label: One Little Indian Records

Critical Snapshot:

“Simultaneously beautiful and befuddling, dazzling and irritating, Utopia has something of Stravinsky or Stockhausen about it. On some level, it may be a work of brilliance, but I suspect it is too far adrift from the rest of pop culture to appeal to anyone but a Björk devotee. If you can dance to it, you have bendier limbs than I. And it's hard to imagine anyone singing along – perhaps not even Björk herself” – The Daily Telegraph

Standout: Future Forever

Arcade Fire – Everything Now

This was a record I was SURE would be a big hit. I was fooled and excited by some early, pre-release albums that were five-star droolers. I heard the title-track and felt it was business as usual for the Canadian band. When the record was unveiled, and I heard all the songs, it seemed I was premature! Its best moments – Everything Now and Put Your Money on Me – are outweighed by some of the worst material they have recorded to date (Creature Comfort, Signs of Life; Chemistry and Peter Pan among them!). No song hits the heady seduce of Reflektor eponymous cut: nothing gets within spitting-distance of Neon Bible or The Suburbs, for instance. I admire the band for experimenting and adding new substances to the mix but, like Chemistry, it is an experiment that has blown up in their faces.

Release Date: 28th July

Labels: Sono Vox; Columbia

Critical Snapshot:

“It's one of the album's strongest moments, matched by "Electric Blue," in which Regine Chassagne's delicate voice floats over a wistful yet hypnotic electro groove…

Much of the rest struggles to stay buoyant. On "Signs of Life," Butler raps awkwardly about increasingly empty nightlife rituals over syncopated handclaps, a thumping house kick drum and a rubbery Tim Kingsbury bass line. "Chemistry" flirts with horn-peppered dancehall reggae but never quite achieves lift-off. "Good God Damn" splashes around in slow, would-be funk and both versions of "Infinite Content" — one punky and distorted, the other slow and countryish — feel like sketches rather than finished songs. "We Don't Deserve Love" ends the album with a whimper. "Just burn it all down," Butler sings, "and bring the ashes to me" - Chicago Tribune

Standout: Put Your Money on Me

LCD Soundsystem - american dream

Did american dream (the lower-case is how it is stylised by LCD Soundsystem) mark a ‘return’ of LCD Soundsystem or awakening from hibernation?! However you view the relaunch of James Murphy’s outfit; american dream, to be fair, has resounded with critics and, largely, been met with positive reviews. It is, with me, the same case as Björk: I am a fan and loyal supporter but was expecting something a little different. call the police, american dream and emotional haircut display the sharpest wit, instinct and intuition of Murphy and are definite highlights. I found nothing else on the album that hit the same peaks. black screen, the twelve-minutes-plus finale, is not captivating enough to demand focused attention whilst opener oh baby could have been moved down the pack – one would think american dream (the song) would be a perfect introduction?! It is, perhaps, a case of disappointment of expectation rather than quality. Given the seven-year wait since This Is Happening; I was expecting a little more – a bit too much, perhaps. It is a fine album – critics have been vacillating – but, to my tastes, a little shy of what we know LCD Soundsystem can achieve.

Release Date: 1st September

Label: DFA Records; Columbia

Critical Snapshot:

“…Too many tracks, however, suffer from a shortfall of melodic potency, and a lack of lateral development, especially in longer pieces such as the 12-minute sci-fi musings of “Black Screen” and the declamatory nine minutes of “How Do You Sleep?”. Both use puttering beats in cavernous spaces, with synths lowering from above, but for such marathons, there’s too little narrative: it’s all vertical, with sounds simply piled on top rather than providing narrative shape; and often, the journey just isn’t worth the destination”- Independent

Standout: emotional haircut

Gorillaz – Humanz

It has been a while since new Gorillaz music really hooked me in. 2010’s Plastic Beach had some incredible offerings but one needs to go back to 2005’s Demon Days to find a consistent and always-astonishing Gorillaz album. With Damon Albarn as a songwriter and contributor; no Gorillaz album could be deemed poor but, on Humanz, there were few songs that stayed in the memory. Whilst the overall sound and tone of the album elicits response: more songs on the same line as Andromeda would have been welcomed

Release Date: 28th April

Labels: Parlophone; Warner Bros. 

Critical Snapshot:

 “…All the masks and cameos aside, this still feels like a Damon Albarn solo project, a place for him to treat the studio like the welcoming arms of oblivion, and for us to join him” – Pitchfork

Standout: Andromeda

HAIM - Something to Tell You

The L.A.-based trio of sisters impressed critics with their 2013 debut, Days Are Gone. That record has the shine and swoon of Fleetwood Mac (and the same knack with melodies and vocals); it has plenty of sunshine and was one of the highlights of that year. Four years on and the sophomore release contains little of that ebullience and quality. There are some great songs on Something to Tell You – Want You Back is one of their best songs – but there are too many off-kilter noises, aimless melodies and songs that do not absorb into the skin. All this leads to a rather muddled and mixed album.

Release Date: 7th July

Label: Columbia Records

Critical Snapshot:

“Haim pairs ultra-smooth sounds with lyrics about love gone wrong that sound more than a little samey on the title track and "You Never Knew." And while Days Are Gone had hooks for days, this time Haim's songwriting just isn't as attention-getting; production flourishes such as the processed backing vocals on "Ready for You" and "Right Now"'s artfully rough guitars threaten to overpower the songs themselves. Moments like these add to the feeling that Haim are more focused on craft than excitement. The ways they refashioned vintage pop on Days Are Gone felt risky, but Something to Tell You offers safer, smaller pleasures” - AllMusic

Standout: Want You Back

Royal Blood – How Did We Get So Dark?

Among the great Rock and Alternative records of the year (IDLES, with tinges of Punk on Brutalism, have crafted a classic) there have been some underwhelming and damp efforts – I will come to another one soon enough. I have not included U2’s maligned album, Songs of Experience, but it has not been a reliable one for Rock. Royal Blood’s second album came after a three-year wait and did not provide any distinction from their eponymous debut – aside from a few Pop harmonies here and there, perhaps. A duo who are lauded as a touring act, one thinks, would do more to evolve their sound and continue to fascinate and amaze. The fact they replicated their debut – which was not exactly world-class and ground-breaking – means it is a huge missed opportunity from the Brighton twosome. Let’s hope the guys learn a lesson for album number-three!

Release Date: 16th June

Label: Warner Bros. Records

Critical Snapshot:

“In summary, this is an album which is trying to be lots of things for lots of people. The sadness being that where Royal Blood appealed to so many because of its abandoned musicality and aggression, How Did We Get So Dark? may run the risk of losing its soul and beating heart in order to please the masses. It will be interesting to see where Royal Blood go from here” – Drowned in Sound

Standout: Lights Out

Beck - Colors

I am not expecting – like a lot of critics and fans – for Beck to return to the genre-fusing, kaleidoscopic pioneer of Odelay! Many expect artists like Beck to preserve themselves in liquid nitrogen and remain a Peter Pan-like presence. Colors is a natural evolution but one that aims too hard for the mainstream. Produced alongside Greg Kurstin and Cole M.G.N.; there is a lot of trial-and-error and patchy (disorganized) quilt-work. It is a big, shiny record that aims to replicate the energy and excitement (Beck felt) on the road – the songs, however, lack great nuance and memorability. Dear Life, that said, is one of the best songs of the year: sadly; the remainder of the album does not hit the same (giddy) peaks...

Release Date: 13th October

Label: Capitol

Critical Snapshot:

“At times, it seems as though Beck is grasping at something, anything, to add conflict and tension to this rather effusive album. But all he comes up with are the most well-worn of sentimental platitudes, as in the tropical-inflected “No Distraction,” where he vaguely refers to “what we went through” and “everything that I know went wrong.” In giving no concrete shape to genuine obstacles that he feels he’s had to overcome, Beck fails to give his euphoric, outsized sense of liberation much emotional heft” – Slant Magazine

Standout: Dear Life

Foo Fighters – Concrete and Gold

Another Greg Kurstin-produced muddle – the man does know how to helm some brilliant records, mind! - and signs of a band struggling to breathe new life into their music. Concrete and Gold’s uninspired, lazy title is reflected in the music that does not do justice to the potential and talent of the band. For every fired-up bomb like Run there are forgettable cuts like La Dee Da and Sunday Rain. I was hopeful of a sort of return-to-glory from Dave Grohl’s crew but, like 2014’s Sonic Highways, it is an unremarkable album – in a year when we need Rock idols to step up and lead the way.

Release Date: 15th September

Label: Roswell Records

Critical Snapshot:

“…But Grohl’s music has cried out for, well, coloring and shaping for so long that it matter more that he’s finally sculpted an objet d’art, rather than Another Foo Fighters album. More than just about anyone in the genre, he’s free financially and creatively to do anything he wants. Maybe next time he’ll sing something political — In Your Honor was about campaigning for John Kerry, not that you’d know from listening to it. Maybe he’ll even sing something controversial. It’s about time the guy took a risk” – Consequence of Sound

Standout: The Sky Is a Neighborhood

Katy Perry – Witness

Many might scratch their heads and wonder why I’d include a Katy Perry album in a feature that expressed mild disappointment – contrasted against high expectations and hopes! It is less a reflection on my desires but that of the mainstream: one of its strongest and most-inspiring stars should be producing epic, solid work. Perry has crafted exceptional music in the past – 2010’s Teenage Dream had its highlights – but Witness is an album produced by a singer-songwriter at the end of her creative avenue. There are none of the bangers and chart-ready songs that made her such a star. Sure; there is that big production and energy a-plenty but none of the songs remain in the imagination and will add anything new for her loyal fanbase – who might flock the way of Taylor Swift for new guidance and inspiration!

Release Date: 9th June

Label: Capitol

Critical Snapshot:

“For about half of Witness, Perry appears to be striving for meaning at the expense of catchy choruses. On the other half, it is as if she has lost her nerve and been persuaded to sing choruses that have no meaning. Witness is the sound of someone trying to cover too many bases. Perry has probably done enough to keep the box office machine rolling but it might be time for her to shrink her budget and make that little arty offering that really comes from the heart” – The Daily Telegraph

Standout: Swish Swish

The Jesus and Mary Chain - Damage and Joy

Another established band I hoped would bring some magic and quality to 2017 – that failed to materialise in The Jesus and Mary Chain’s Damage and Joy. Those enamoured of the band’s unique charms and dynamics will not balk: their latest record does not stray too far from a familiar path and contains songs many will already be familiar with. Maybe that is where the split comes: anyone (like me) asking the Scottish band to progress and deviate are short-changed; fans will bond with the business-as-normal sounds. There are some pleasant highs from The Jesus and Mary Chain’s 2017-work but I was not motivated to come back to any of the album’s tracks – it all feels a little plodding, predictable and routine.

Release Date: 24th March

Label: Artificial Plastic

Critical Snapshot:

“Also, any Mary Chain follower will be grateful to hear a new batch of downer-pop from the Brothers Reid just as they’ll be relieved at their ability to reconcile (unlike another former Band of Brothers). “War on Peace” features a blazing, arena-ready uptick in percussion and a chorus of “ooooh, ohhhhh”s, and it’s a pleasure to hear the long-missing Ferreira sing “Yeah, it’s just a bitchhhh” on the prettily dour “Black and Blues.” It’s all very nice. But that’s all it is: nice. The Mary Chain never moves beyond that in terms of lyricism or arrangement. The lack of any real verve on Damage and Joy actually makes their I’ll-be-replaced fears on “Amputation” something of a self-fulfilling prophecy” - Paste

Standout: The Two of Us

Morrissey - Low in High School

His latest scandal – there have been so many over the years – surrounding comments made to a German newspaper about reviled figures Kevin Spacey and Harvey Weinstein have seen many raise eyebrows in the direction of Morrissey – wondering if he should keep his opinions to himself! One could forgive a certain carelessness if the music is stunning and on-point, Morrissey’s latest record, Low in High School, does not hit the same strides as Years of Refusal (2009) and Ringleader of the Tormentors (2006). There is, mind, a few choice cuts that remind us of what Moz can do – Spent the Day in Bed, I Wish You Lonely and All the Young People Must Fall in Love are exceptional and hint at what the album could have been. Directionless anger, overly-suffocating snide and a lack of killer tunes (aside from the aforementioned) mean for all the build-up and promise: Low in High School is a misfire that should see Morrissey banished to the ‘naughty step’!

Release Date: 17th November

Label: BMG Rights Management (UK) Limited

Critical Snapshot:

“‘The Girl From Tel Aviv Who Wouldn’t Kneel’ is an unbearable cha-cha-cha; ‘Who Will Protect Us From The Police?’ is lumpen electro; and least listenable track ‘Israel’ sees him deliver political polemic via the dubious medium of a piano ballad. Moz has become pop’s greatest troll in recent years, and here he’s exhaustive in goading you to hit the ‘off’ button. It’s enough to make you put your head in your hands. Or, indeed, your lap” - NME

Standout: Spent the Day in Bed

alt-J - RELAXER

I may be slightly biased when I say I have never really been a fan of the Leeds band: this lack of excitement is based on quality (lacking) rather than expectation. The boys of alt-J have always been synonymous with experimentation, big, sweeping songs and sound unlike anything else out there. Unfortunately, on their third outing, they sound too much like themselves: a group still lacking any solid identity. Despite RELAXER being nominated for a Mercury Music Prize – their second nod – it is a record that has only a couple of great tracks in the batch (Deadcrush and In Cold Blood are worth closer inspection). Maybe their music is reserved for particular tastes and clans but I was genuinely ready to love and absorb the album – I was left a bit deflated and apathetic.

Release Date: 2nd June

Label: Infectious; Atlantic

Critical Snapshot:

“It would have been easy for Alt-J to continue making albums that followed a standard pattern, and in that regard, Relaxer represents ambition and a willingness to take chances. The downside is that it finds the band in a state of confusion, pulled in all directions and sacrificing a sense of cohesion. Alt-J’s first two records were built off of their comparisons, and on Relaxer they work to forge their own identity. They just haven’t figure out what that is yet” – Consequence of Sound

Standout: Deadcrush

FEATURE: The Hollywood Playlist

FEATURE:

ALL PHOTOS: Unsplash

The Hollywood Playlist

________

THIS year has been a mixed one…

with regards Hollywood and the film industry. There have been the controversies and scandals; directors, actors and film figures being put under the spotlight. Against the tarnish and dirt has been a busy and productive one for Hollywood. Later this year/next I will write about the link between celluloid and vinyl: the way music is interweaved into film and is an integral part. I have compiled a Hollywood-themed playlist that looks at classic films and directors; L.A. and interpretations of its lure; a few songs from this year’s best film soundtrack, Baby Driver; the glitz of fame and the downsides of the business; songs inspired by various actors (John Wayne gets two nods!). It is a comprehensive soundtrack that should please the most ardent and dedicated…

FILM fan out there. 

_________

FEATURE: Treasure-Gripping, Guilt-Tripping: The Discovery of Older Music…and Why There Are No 'Guilty Pleasures'

FEATURE:

 

Treasure-Gripping, Guilt-Tripping

ALL PHOTOS (unless credited otherwise): Unsplash

The Discovery of Older Music…and Why There Are No 'Guilty Pleasures'

________

AT this point in the year…

we are inundated, by the music press, with their favourites of the year. I guess I have been culpable, too: all my choice albums, videos and artists have been presented for your delectation. With that, as they collate 2017’s finest, we get a nod to those artists who will make breaks next year – I have made my predictions and written a multi-part feature with the competitors we should be aware of next year. In 2018; I will look at new topics, expand the blog and make a general push towards something multimedia and diversified. Writing is rewarding but the desire to get the site video-capable and more interactive is top of my mind. As I future-ready myself; there is always that curiosity regarding older sounds. I have looked at this before – pieces that examined whether older music is better than new stuff – but, motivated by an idea that was mooted on BBC Radio 6 Music; I have been thinking back and whether, as we are showered with new music and current commendation, our thoughts should consider where music came from. I am always amazed by certain people saying they have discovered a song/artist/album they have not heard before. Even though that person is not mega-young – twenties and thirties – they are connecting with artists many of us are already familiar with.

IN THIS PHOTO: David Bowie/PHOTO CREDIT: Gavid Evans/Sotheby's Press Office

Some people I know have just turned onto Steely Dan, Tears for Fears and Talking Heads – bands from the 1970s and 1980s who have been kicking around a fair bit. It is hard discovering all the music that has come before but there is that pleasure and sense of discovery when we hear a song that is fresh to the ears – but was made years/decades ago. I have been discovering new (to me) stuff by Ramones – albums like Rocket to Russia. I am aware of the band, of course, but it is only this year I have been stepping back and investigating their rich catalogue of work. The same is true of David Bowie. I am a fan but there are albums of his – his less-well-known – that have struck the ear and given me a new appreciation! Of course; it is not only albums from established artists I have been finding: I have found artists others have been raving about for years that were foreign to my ears! Talk Talk and Can are two acts I had not really known about prior to this year. Naturally, I was aware of their name and legacy and, whilst they are very different in terms of music and legacy; it has been revelatory finding these musicians! I guess, unless you regularly listen to a station that plays a blend of new and old, you are likely to discover well-known artists after everyone else.

IN THIS PHOTO: Talk Talk/PHOTO CREDIT: Getty Images

Alongside these bands; I have latched onto some great female artists from the 1980s; brilliant 1990s Dance – I thought I had the decade covered! – and pioneering Rock ‘n’ Roll from the 1950s. I like to consider myself pretty cultured and thorough so it has been a surprise finding artists that have escaped my gaze all these years. It is not unusual but, as I said, the sensation of finding that artist – looking back at all their work and ‘catching up’, as it were – is fantastic. Many others are in the same position but I wonder whether, instead of stumbling on music so long after the fact, there is something inherently disconnected in the radio/streaming networks. I understand why, in the case of the BBC, there have to be different-numbered radio stations? They have an option that plays mostly mainstream music for younger listeners (Radio 1); mostly older sounds mixed with chart sounds (Radio 2); Classical recordings on Radio 3 whereas BBC Radio 6 Music provides that new and old – none of the naff chart songs and drivel other stations salivate over. I always listen to the latter but wondered whether there are artists being played on BBC Radio 2 worth seeking out – that might not make it to my preferred option. I have mooted the possibility of, in some way, integrating the stations so the average listener gets a little bit of everything. I like Classical and Jazz but do not want to hear it a lot – the same can be said of modern chart songs.

That is not to say I’d prefer to be without them: a little of each of a day would be welcomed, for sure. I can understand the logistic nightmares – if one did create a new station – and it would be hard appealing to all ages and tastes but, as so many people are finding music years after release, I wonder if that signifies an issue. Is it better to not know about everything and make that chance discovery in 2017?! I always get annoyed when I miss out/have missed out on an artist but I appreciate those who like the mysteries and ever-giving nature of music. It is exciting having the mind opened to a band/artist that were once unborn – a new obsession or a song that nestles its way into the brain. Streaming, as I have suggested in other posts, is all about the here and now. Whilst sites like Spotify open its doors to music’s capacious cannon: one feels there is too much of an obsession with numbers, business and modern-made sounds. You go to the site and it is all about the latest big name and coolest tunes. 

PHOTO CREDIT: Getty Images

Like YouTube/SoundCloud; there are no detailed menus that break down music by genre, year…providing detailed schematics and algorithms. It is one of the frustrations and, when more and more want to connect with past sounds – why are there are no slick and easy mechanisms in place to find the gold of old?! It is interesting but, I guess, if one is given too much it robs that joy of happenstance and dumb luck! I wanted to talk about ‘the guilty pleasure’ as, to my mind, there is no such beast. I hear the term bandied about and it has been part of the musical lexicon since the first popular recordings. I have a soft-spot for those 1980s songs with big choruses, huge production…and titanic hair! I confess there are some dodgy songs from the decade that deserve nothing but scorn and derision. Tracks like Owner of a Lonely Heart (Yes) and You’re the Voice (John Farnham) are mid tracks from the early/mid-1980s and have survived the test of time. Even if you were not around then those songs first came out – I was, sad to say – they have a timelessness that means the mood is lifted and the voice compelled – songs you keep in the back pocket when you need a pick-me-up. I am a bit stuffy about the modern Pop charts but there are a few songs, now and then, I feel are worth time and energy. It can be embarrassing for someone expressing their tastes and likes and getting that sort of negative reaction. Music is a subjective thing and, whilst there is plenty of bad music, there is nothing that should be hidden and listened in secrecy.

IN THIS PHOTO: Kylie Minogue/PHOTO CREDIT: Getty Images

Maybe you like Kylie Minogue or Jazz; others might say it is a guilty pleasure – that does not mean you should stop listening to that music. A lot of that reaction comes from the critical opinion: if they think an artist/style of music is a bit tragic, that impacts negatively on others. You get D.J.s putting on special nights for ‘cheesy music’ – we all know the type of songs that would fall into that category – and that doesn’t really help. I have mentioned a couple of songs (from the 1980s) that could feature in those sets when, in reality, they are solid and impressive songs. There is nothing bad and wrong with those songs at all – and no reason they should be confined to cheese-only sets. I mentioned how music is subjective but how much personal exploration is being stunted by negative branding and this term ‘guilty pleasure’? I am a big fan of Beyoncé and, since her days leading Destiny’s Child, have been in awe of her creativity, reinvention and talent. Many, who know I listen to her, have turned their noses up. She is, to many, overly-commercial and processed; someone whose music appeals to a niche demographic. If this were true – which it isn’t – we shouldn’t judge other people’s tastes and think any sound is reserved for guilt and embarrassment.

IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Getty Images

Music is a broad church and, in the same way we should integrate stations and create a more visible market; we need to get out of the habit of branding certain types of music as uncool. Quality is a different objective and there are songs that are distinctly rotten – you should still be proud to listen to them but some will not share the same enthusiasm! Whether you love a good bit of 1980s Pop, some experimental Jazz or modern-day, British Hip-Hop – get involved and play it loud! I am getting less picky about my music tastes and, doing what I do, I have to have an open mind and accepting ethos. I will refuse some artists because their music is not to my tastes and preferences. That being said; I would never alienate any music and say people should be ashamed to like it. Music is a spectrum and community where differences are welcomed. If we all liked the same music then it will be a very boring and pointless scene. I like those songs that others snobbishly push away: I feel I hear something others don’t and have a finer sense of taste. I am searching my mind and wondering if there is anything that can be deemed a ‘guilty pleasure’. Even if you think something is a bit uncool – I am not partial to Taylor Swift or Cliff Richard, for instance – I would not judge others and say they have poor taste in music.

2018 is going to be about change and acceptance: altering bad practice and ensuring there is greater awareness of any problems that arise. That SHOULD be what happens but, until we get the ball rolling, there is no telling whether it will be better than this year. I am always campaigning streaming sites to make older music more visible and accessible to those who use the site – rather than promoting whatever is new and hip. I asked whether stumbling on an old album/song/artist was part of a frustrating compartmentalisation in the music industry or whether it was an inevitable result of the industry. It is getting fuller by the year and it can be hard nailing it all done and sorting it out. Having heard various people talk about the joy of finding an artist – that many of us already know about – and getting that surprise is good to hear. Maybe it is best not knowing/hearing everything and relying on the odd surprise here and there. It would be good to see stronger connections between the present and past; getting music from older artists put into the modern-day ears. As I have said; music is not a guilty pleasure that should be hidden and judged – everything has a purpose, worth and its place. Realising that, and keeping that truth to the chest as we head into a new year…

WILL make us all a bit richer.

FEATURE: If at First You Succeed… Incredible Debut Albums from 2017

FEATURE:

 

If at First You Succeed…

PHOTO CREDIT: Unsplash

Incredible Debut Albums from 2017

________

SOME artists can take an entire career…

IN THIS PHOTO: Loyle Carner/PHOTO CREDIT: Getty Images

to produce an album that gets critics humming and listeners flocking! If one considers all the best and most durable artists from music: how many of them cemented something terrific the first time out?! Even titans like Radiohead and The Beatles (random names, I know!) didn’t hit their peak until a few albums in – later, in the case of The Beatles! It is hard putting out the debut album because it is the first offering and you are never sure what the public will think – and whether it will resound with the critics. Those who manage to create a great and solid debut album have a lot of pressure taken off...and get straight into the collective bosom.

2017 has seen some terrific introductory L.P.s from artists we will hear a lot more of through next year (and beyond)! These are the ten debut albums that have helped make 2017 a stunning and eclectic year for music…

ALBUM COVER CREDITS: Getty Images

________

Sundara Karma - Youth Is Only Ever Fun in Retrospect

Release Date: 6th January

Label: RCA Records

Critical Snapshot:

“Youth is Only Ever Fun in Retrospect doesn't quite match The 1975's I Like It When You Sleep For You Are So Beautiful, Yet So Unaware Of It in terms of ridiculously long album titles, but the Reading four-piece have taken a good shot at matching it in terms of hooks. Dubbed a 'band in waiting' by various outlets, Sundara Karma have filled their debut to the brim with hit after hit; it's hard to know where to begin” – The Line of Best Fit

Stream the album here.

The Big Moon - Love in the 4th Dimension

Release Date: 7th April

Label: Columbia Records

Critical Snapshot:

“The smouldering heart of ‘Love In the 4th Dimension’ arrives in the orange-licked shape of ‘Bonfire’; an almighty flame-singed anthem obsessed pursuing the secrets to fire-starting to escape boredom. “Show me how your fingers got in all those pies, I’ll never go away,” urges Jules, presumably hammering down the doors to The 4th Dimension and letting loose wolf-like howls. On all the evidence here, The Big Moon have succeeded in unearthing the secret to a fire debut” - DIY

Stream the album here.

Sampha – Process

Release Date: 3rd February

Label: Young Turks

Critical Snapshot:

“Nothing feels in thrall to current trends in R&B, either sonically or emotionally: Sisay may have been a constant, quiet presence on other people’s records last year, but Process doesn’t sound much like any of them. Instead, it’s a weighty, powerful album with an identity entirely of its own. And while clearly not constructed with commercial ambition at the forefront of its mind, it’s certainly good enough to make an unlikely star of the man behind it” – The Guardian

Stream the album here.

The Moonlandingz - Interplanetary Class Classics

Release Date: 24th March

Label: Chimera Records

Critical Snapshot:

“The most immediate moments might come when Saoudi – sorry, Johnny Rocket – unleashes his ghoulish Nick Cave impression, but there’s variety here, too. Downbeat moody duet ‘The Strangle Of Anna’ is ostensibly The Velvet Underground’s ‘I’ll Be Your Mirror’ given a contemporary spin It ends with the unlikely pairing of The Human League’s Phil Oakey and Yoko Ono howling on a cosmic six-minute electronic-prog wig-out ‘The Cities Undone’. You couldn’t make it up. Accept, well, The Moonlandingz just have” – NME

Stream the album here.

Stormzy – Gang Signs & Prayer

Release Date: 24th February

Label: #Merky Records

Critical Snapshot:

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

Stream the album here.

SZA – Ctrl

Release Date: 9th June

Label: Top Dawg Entertainment

Critical Snapshot:

“People will go to extremes to absolve themselves of judgment, whether it’s for liking something as benign as “The Bachelor” or by mining the depths of psychology to determine that breaking someone’s heart was somehow just an act of radical self-care. SZA has the grit to say that it doesn’t just feel shitty, it is shitty. She is in touch with love’s fragilities and understands that it is worth protecting, there is just a lot of tireless work to get it. The record is all the more beautiful for it” - Pitchfork

Stream the album here.

IDLES – Brutalism

Release Date: 10th March

Label: Balley Records

Critical Snapshot:

“Meanwhile, the band are impossibly tight, offering an onslaught that pitches itself somewhere alongside the sensory overload of Girl Band or Hookworms. From its loping beat upwards, few songs in recent memory have encapsulated smalltown boredom as perfectly bluntly as ‘Exeter’, one of the album’s rare pauses for breath. Otherwise, the rough edges and lack of nuance here are entirely the point. The government may be eager to get rid of the architecture that gives the album its name, but Idles have offered a ‘Brutalism’ that demolishes back” – Loud and Quiet

Stream the album here.

Prophets of Rage – Prophets of Rage

Release Date: 15th September

Labels: Fantasy; Caroline

Critical Snapshot:

“Music has both the ability to reflect and transform the times,” stated Morello in early press about their new album. It's clear that in a time where it's more important than ever for people to have a voice, the band has solidified what theirs is and are ready to rally for what they believe, all against the backdrop of some at times aggressive and at times funky sounds. Time will tell if they're able to "transform the times," but Prophets of Rage are doing their best to rage against the machine for as long as it takes” – Loudwire

Stream the album here.

Nick Hakim - Green Twins

Release Date: 19th May

Label: ATO Records

Critical Snapshot:

“Most of the songs evoke some combination of obsession, rapture, gratitude, and anguish. The whirling title track, spaced-out "Bet She Looks Like You," and easy rolling "Cuffed," all exemplary, indicate the profound effect of a committed relationship. The impact is conveyed in open-hearted lines like "I admit -- inside me lives fear," "If there's a god, I wonder what she looks like/I bet she looks like you," and "She taught me to make love with patience." The album's potent mix of soul-searching lyrics and spaced-out sonics lends itself to deep thought and accompanied stargazing” – Allmusic

Stream the album here.

Loyle Carner – Yesterday’s Gone

Release Date: 20th January

Label: EMI

Critical Snapshot:

“Mostly though, this is an album which celebrates the love of family – there’s an incredibly touching bit in Sun Of Jean where Carner’s mother appears again reciting a poem she’s written about her son, and the pride in her voice is palpable. As should be the case: yesterday may be gone, but the future of UK hip-hop belongs to this man” - musicOMH

Stream the album here.

FEATURE: That’s My Kind of Scene: The Best Music Videos of 2017

FEATURE:

 

That’s My Kind of Scene

PHOTO CREDIT: Unsplash

The Best Music Videos of 2017

________

EVERY year brings videos that stand out…

PHOTO CREDIT: Unsplash

and add light, life and longevity to a song that, otherwise, would have faded from the mind. It is interesting how a brilliant concept and fantastic look can change the nature of a track and add so much to it. I guess that is what a music video is supposed to do but...when one considers the volume of options out there...is it easy to separate the genuinely brilliant videos from those that are merely promising (or the sheer naff)?!

I have been looking through videos from this year, across a range of genres and artists, and highlighted those worth another look…

________

PHOTO CREDIT: Mary Ellen Matthews/CPi Syndication

Lorde – Green Light

Director: Grant Singer

Release Date: 2nd March

YouTube Views (at the time of this feature): 99,982,078

PHOTO CREDIT: Getty Images

Beck - Up All Night

Director: Canada

Release Date: 6th September

YouTube Views (at the time of this feature): 3,427,212

PHOTO CREDIT: Getty Images

Avalon Emerson – One More Fluorescent Rush

Director: Hayden Martin

Release Date: 25th October

YouTube Views (at the time of this feature): 50,192

PHOTO CREDIT: Getty Images

Camila Cabello (ft. Young Thug) - Havana

Director: Dave Meyers

Release Date: 24th August

YouTube Views (at the time of this feature): 382,863,102

PHOTO CREDIT: Getty Images

Chromatics - Shadow

Directors: Rene & Radka

Release Date: 21st May

YouTube Views (at the time of this feature): 3,292,779

PHOTO CREDIT: Getty Images

Jonathan Bree - You're So Cool

Director: Jonathan Bree

Release Date: 28th August

YouTube Views (at the time of this feature): 1,671,404

PHOTO CREDIT: LeAnn Mueller (for Rolling Stone)

St. Vincent - New York

Director: Alex Da Corte

Release Date: 31st August

YouTube Views (at the time of this feature): 1,717,555

PHOTO CREDIT: Getty Images

Dua Lipa - New Rules

Director: Henry Scholfield

Release Date: 7th July

YouTube Views (at the time of this feature): 825,293,348

PHOTO CREDIT: Getty Images

JAY-Z - The Story of O.J.

Directors: Mark Romanek & JAY-Z

Release Date: 5th July

YouTube Views (at the time of this feature): 54,076,968

PHOTO CREDIT: Getty Images

Princess Nokia – Flava

Directors: Destiny Frasqueri and Milah Libin

Release Date: 8th September

YouTube Views (at the time of this feature): 588,104

PHOTO CREDIT: Rankin

Liam Gallagher – Wall of Glass

Director: Francois Rousselet

Release Date: 31st May

YouTube Views (at the time of this feature): 9,263,748

PHOTO CREDIT: Getty Images

Kamasi Washington - Truth

Director: AG Rojas

Release Date: 12th April

YouTube Views (at the time of this feature): 757,709

PHOTO CREDIT: Getty Images

Charli XCX – Boys

Directors: Charli XCX (with additional direction from Sarah McColgan)

Release Date: 26th July

YouTube Views (at the time of this feature): 66,191,974

PHOTO CREDIT: Getty Images

Perfume Genius - Slip Away

Director: Andrew Thomas Huang

Release Date: 21st April, 2017

YouTube Views (at the time of this feature): 237,784

PHOTO CREDIT: SSENSE

SZA – Drew Barrymore

Director: Dave Meyers

Release Date: 20th June

YouTube Views (at the time of this feature): 5,845,492

PHOTO CREDIT: Getty Images

Björk - The Gate

Director: Andrew Thomas Huang

Release Date: 20th September

YouTube Views (at the time of this feature): 1,460,829

PHOTO CREDIT: Getty Images

Kendrick Lamar - HUMBLE.

Directors: Dave Meyers and the little homies

Release Date: 30th March

YouTube Views (at the time of this feature): 405,640,974

PHOTO CREDIT: Getty Images

Radiohead - Lift

Director: Oscar Hudson

Release Date: 12th September

YouTube Views (at the time of this feature): 6,992,742

PHOTO CREDIT: Getty Images

HAIM - Want You Back

Director: Jake Schreier

Release Date: 22nd June

YouTube Views (at the time of this feature): 10,395,231

FEATURE: Let There Be Love: Why Music Needs to Look to the Past to Move Forward

FEATURE:

 

Let There Be Love:

PHOTO CREDIT: Unsplash

Why Music Needs to Look to the Past to Move Forward

________

AS I type this…

IN THIS PHOTO: A still from A Hard Day's Night/PHOTO CREDIT: Getty Images

I am watching The Beatles in A Hard Day’s Night. It is a festive favourite that shows what a majestic force The Beatles were – their best film and one of the finest moments on film. There is an innocence and endless charm that makes you smile. The script and concept are great; the acting is brilliant and the songs, of course, are faultless. The entire film – shot in black-and-white- takes you back to a time when there was more optimism and love in the air. I could have called the feature All You Need Is Love – in honour of The Fab Four – but I thought that would be a bit too much! I am not going to claim the 1960s were innocent and free from any problems: they had blights, political chaos and crisis. Whilst the world has not moved on in many ways – the corrupt politics and fear hanging in the air – I feel there have been lacking progressive steps. I look at bands like The Beatles and the 1960s. I was not alive then but know people who were; the sense things were better, in the music industry at least, always come through. Could we ever have a modern-day Summer of Love, in our society, that promoted freedom, liberation and togetherness?! It seems almost inconceivable but, after the last few years we have had, there is that desire to create a unity and peace.

IN THIS PHOTO: Unsplash

I have written about this a few times throughout the year – but I feel things have not really changed. Away from the scandal and disease that has plagued the film industry this year – the allegations against figures like Kevin Spacey – there are questions in music that need to be raised and tackled. Specifically, I am thinking about sexism and racial imbalance. With every month we go through; that problem keeps coming up. The disparity is there and, although there are small developments, there is a gulf that does not need to exist. We hear about more women coming into the studio and finding opportunities. The studio has always been seen as a boys club and somewhere few women find acceptance and a natural. More are coming into the studio and reversing trends – although there is a long way to go. The same can be said for the charts and the artists getting number-one songs. Earlier this year; Dua Lipa because the first female artist since Adele to get to the top of the charts (with her sing, New Rules). The irony of the song’s title suggested a fresh order was coming in: the need to get rid of the discrimination and division we find is paramount.

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

I was pleased when she got to number-one and, whether you like her music or not (I am not a fan); it was a landmark and important step through. The fact that was the first number-one by a British female artist in a couple of years was a shock. Is it the case people are going after male-created music and ignoring and female alternative? Is the scene primed towards promoting the men and providing less attention to women? One cannot look at stats – like the Dua Lipa case – and assume there is no issue and everything is fair-minded and even. That is clearly not the case and whether there is deliberate sexism or not; it is baffling and peculiar it would take THAT long for a female artist to climb to the summit of the charts. Look at festivals and big music events and I hear voices that highlight the lack of women on the bill. The headline spots are given to men and there is an embedded ignorance and predictability that goes after commercial, male artists. It is not only sexism that seems to linger and infect the music industry: there is a racial bias and a need to augment more black and minority artists. It is not only sexism that seems to linger and infect the music industry: there is a racial bias and a need to augment more black and minority artists.

PHOTO CREDIT: Unsplash

One of the best things I heard this year (in music) was the number of black artists who were nominated for Grammys. Hip-Hop is getting the respect it deserved, and with it, artists like Kendrick Lamar and SZA have been included. Problems surrounding race will not disappear in 2018 but the time has come for the music industry to have a good look inside itself and ask why there is a distinct imbalance. Words and meaningless if they are not backed by action. Many industry figures say they will make changes and promote minority artists but how much are we going to believe?! It is not a case of making exceptions and pandering: changing the way artists/genres are promoted and, like women in festival slots; make more available for the finest minority artists around. If the white man continues to promote white men; it will send out the message everyone else is excluded. I have seen some fantastic, world-class music made by black and female artists, new and existing, that deserves festival coverage in 2018. I wonder whether that is a reality or whether, like years past, the commercial white artists are going to steal all the limelight. I know there are other concerns away from race and sex but these are the most visible and troubling. Venues are closing and the fabric of music is weaker and less sure than it has been in a while.

PHOTO CREDIT: Unsplash

The government are not willing or prepared to make decisive changes and take action to benefit the industry. It is down to those in charge within the industry to ensure there are positive step forwards and preservative measures put in place. I am troubled by the continuing sexism and racial bias; the way commercial sounds are muscling out others. Returning to a 1960s, free-love style of thinking would be horribly naïve and idealistic considering the way the planet has changed in the ensuing five decades. It is not only music issues that we are finding. The political crap and growing global-warming crisis mean now, in an age defined by technological advancement, human beings are retreating back into the mud. It will take small steps and a lot of internal administration but I feel a declaration and desire to make changes can go a long way. So much negativity is flying around it can be hard finding any light and hope among all that. I can hardly judge myself – without making changes and being active myself – but I am looking at the music industry and finding too much discrimination and issue. The fact the film industry has been tarnished by a select few male figures means many are wondering how far the problem extends – and how many other people will be accused in the New Year.

PHOTO CREDIT: Unsplash

Music is not immune and already has enough burden without falling down the same slippery slope. Of course; this year has seen a lot of good and love but not enough for my liking. Although the 1960s had more than its fair share of problems – racism and sexism was pretty prolific and unabashed – but there are aspects that we have lost in the ensuing decades. There are other problems that have been covered in various articles. One, seen here looks at live music and how hard it is for touring musicians to sustain a career – whilst keeping up their day-job:

“Ask just about anyone how musicians make their money these days, and they will say, "live music." In fact, ask anyone who never pays for recorded music how they support the musicians they love, and they'll say, "I go to their shows."

Now, that's all well and good. And, it's true—live music is where it's at these days financially for musicians. However, there's one major disconnect—playing live costs musicians money. A lot of money. Yes, even more than that. Sure, going down to play your local venue for the 80th time is a piece of cake financially, but that a music career does not make. To really build an audience, a band has to go out on the road”.

 PHOTO CREDIT: Getty Images

There are some brilliant articles that break down the various issues in the music scene – from streaming and record labels to albums and royalties. Ranging from small to immense; there is a long list of considerations that need to be discussed in 2018. I have, several times this year, how we have not really developed and ways we can improve. It is going to be impossible to stamp out every slight but I wonder whether, as I have proffered in a previous post, someone should be assigned to take a governmental approach to music. It is clear there are lots of easy-to-solve things that can be solved: the bigger, music-wide problems definitely need action and exposure in 2018. There has been so much good and productivity; some real strides and world-class music and I know that will continue. A pragmatic, proactive and positive approach needs to come out next year. Not only do the divisions need sorting and list of faults need proper scrutiny: a much more balanced, welcoming and inclusive industry needs to make its voice know. It is what musicians want but, as music becomes more business-minded, I wonder whether suits and money-grabbing men are thinking more about their wallets – less about the artists and creating a balanced and less problematic industry. If we continue to ignore the visible and worrying cracks in the pavement; it is going to get worse and get to a point where it will be impossible to fix. Love might not be all we need but it is…

PHOTO CREDIT: Unsplash

A pretty good place to start.

FEATURE: The Future Is Now: Virtual-Reality Startup Magic Leap and a New Way of Experiencing Music

FEATURE:

 

The Future Is Now:

PHOTO CREDIT: Unsplash

Virtual-Reality Startup Magic Leap and a New Way of Experiencing Music

________

I was reading an article…

IN THIS PHOTO: Magic Leap One's Lightpack, Lightwear and Controller/PHOTO CREDIT: Magic Leap

on Pitchfork that highlighted a new technology that is getting people excited. A billion-dollar company, Magic Leap, is looking to replace Alexa and Siri in the new wave of virtual-reality interactivity. This would allow people to interact and experience music in a new way. The company has already raised $2 billion and has backing from the likes of Google. The glasses/goggles project virtual objects that are just like real-life scenes/images. It is not a reality at the moment – merely a prototype – and has yet to get past the stage of testing and conception. It does, however, raise questions on both sides of the argument. Is it going to be the way music is heading? Is this how people will listen to music in years to come? The article highlights what the scene involves:

“Turbo-boosted by machine learning, and with their power of illusion limited only by the human imagination, these new devices could herald a major cultural and economic shift. According to tech giants, the not-so distant future will include holographic droids clanking around our homes, and a baby elephant in the palm of every child…Silicon Valley’s big players are currently betting heavily on glasses that could replace Siri or Alexa with a digital assistant that looks and sounds as present as another person in the room.

PHOTO CREDIT: Magic Leap/Getty Images

Turbo-boosted by machine learning, and with their power of illusion limited only by the human imagination, these new devices could herald a major cultural and economic shift. According to tech giants, the not-so distant future will include holographic droids clanking around our homes, and a baby elephant in the palm of every child”.

There are issues with any form of augmented/virtual-reality. We all know the infamous Google Glass and how well that did! It was launched as a hugely innovative and revolutionary concept by the bods at Google but ended up being an expensive and over-hyped experiment. I am not sure whether anyone benefited from the product – or what it actually did – but there have been technologies launched that look to replace human contact and traditional modes of interaction with machinery. There are watches that are an all-in-one Smartphone/watch etc. and, every year, inventors and progressive thinkers are pushing the boundaries and limitations of what is possible. That is exciting but I wonder whether, like Google Glass, there are too many flaws! The fact I posed no question in the header suggests I am more positive regarding Magic Leap and what they can produce. Even if the glasses are flawless in their execution and promise; they cannot block out everything around them. Actual reality seeps in at the sides and you cannot realistic wrap the glasses around the head so you erase any light and outside world.

PHOTO CREDIT: Unsplash

There are, as writer Marc Hogan proffered, some other problems:

“There are a few widely documented problems with augmented reality devices in general. They look silly. They have a narrow field of vision, so while what you see through the goggles looks amazing, you can still see unmixed reality in your peripheral vision. And they require so much energy that, for the foreseeable future, they’ll need to be connected to a battery pack. Once, after I try to grab a tónandi while using the app, I briefly see an error message. It tells me that the tónandi will interact with you, but you can’t control them. There’s something humbling about this. It’s almost a sacred ceremony, in secular form. Or a strangely vivid hallucination. If nothing else, it’s surreal”.

If we rely on technology to interact and experience life around us then are we encouraging the disintegration of human contact?! Is it healthy and wise leaning on machines and the un-physical in order to see more of the world?! It sounds counterintuitive to take this approach but I guess this is the way technology is advancing. Music is becoming less physical and more of our music is being streamed and bought digitally. It is only natural a technology firm would pitch something that immerses the listener into music using machinery – a gadget that provides depth and dynamics the naked eye cannot perceive. It is almost like the electric car in many ways. It has taken years for a viable and workable model to come onto the market.

PHOTO CREDIT: Unsplash

There are drawbacks to the electric car – having to recharge frequently; charging stations not overly-common and available; how costly and inconvenient it might be – but it is coming to a point where there is no real option. Global-warming means fossil fuels are doing more damage than we can imagine. It might be the only way we can have vehicles without the consequences being dire and planet-destroying. The electric car is still not completely there yet but it is a lot more advanced and realistic than years ago. The same cannot be said of music-related virtual-reality. The motives are different but the issues, one feels, are similar. One would need a battery-pack when using the new goggles. There is no suggested price for these goggles so you can only imagine how pricey they would be. This will be straightened out and, as with many of these ambitious projects, the price comes down eventually. It is a case of gauging the market and seeing what the demand is; modulating and redefining pricing so that the company makes a healthy profit without alienating the market – there is always going to be greed but, if the consumer cannot afford it, that would be a very costly and embarrassing failure. Hopefully, lessons have been learned from the fellow mixed-reality projects of old and how they have fared.

PHOTO CREDIT: Unsplash

Looking at an article by Business Insider; they look at the other possibilities with regards the Magic Leap project:

“As the Magic Leap website says, the headset merges, "environment mapping, precision tracking and soundfield audio." What that means in practice is whatever you see in the world through the glasses can be interacted with.

In the example above (from Magic Leap), a user has our solar system projected in the world in front of them. The glasses have sensors and cameras that see the user's hands interacting with the projection.

It's not actually clear if the Lightwear headset can track hands, but this example certainly gives that impression”.

One would be able to watch a basketball game with others in a living-room – the game would project life-like scenes in front of them. Not only would it be a new way of perceiving T.V., film and the arts: it would open up science, art and technology; help make it more appealing and engaging. There are sketchy details regarding the full capabilities but, when it comes to music, I am quite excited. It is early days regarding pricing, logistics and practicality: when it comes to the capabilities and possibilities; it will help take music to new audiences. Returning to the Pitchfork article – as I will finish up – and the journalist was able to hear various drum sounds and notes in surroundings.

Various parts of the image gave off different sounds – music coming to life in a much more evocative and tangible way. I would fear for the industry if this was trying to erase traditional formats and hardware. Streaming services are not trying to replace vinyl and C.D. but there is a sense things are going more in a digital direction. I have been worried about the dependence on streaming sites but know, with regards vinyl sale, there is evidence people are not willing to abandon traditional and purity. The launch of a virtual-reality will supplement what is already out there and help bring videos, scenes and songs to parts of the brain that are not usually stimulated. If it is something as simple as taking an existing video and making it larger, clearer and more cinematic; that is something to get excited about. My doubts remain but there are ways we can help various people connect with music in new ways. If a person is deaf and, therefore, they cannot engage with music in ways most of us can – can the visual components and ways Magic Leap are proposing help them enjoy music in ways as yet undiscovered?! Others, with dementia and memory problems, may be able to have parts of their brain stimulated that stores memories. Children are always reluctant to sit down and patiently listen to music but, if there was a more film-like, robotic way of connecting with music – that has to be a good thing, surely?!

Rolling Stone were afforded a unique experience and meeting with those behind the project. They spoke with Magic Leap founder (the company was founded in 2011), Rory Abovitz, who (first) talked about a special musical benefit of the virtual-reality glasses:

“…Finally, I went to a separate room to see an experience that I can talk about in full detail. Iceland experimental rock band Sigur Ros has been quietly working with some folks at Magic Leap to create an experience that they like to call a soundscape. For this particular demo, the team had me put on earbuds plugged into the goggles. “What you are about to see is a project called Tonandi,” Mike Tucker, technical lead on the project, tells me. “What you’re going to see is not a recorded piece of music but an interactive soundscape. That’s how they like to describe it.”

Those worried the new technology would be cumbersome and unwieldy have little to be worried about when it comes to possible strain and physical stress:

“The Lightwear and Lightpack are almost toy-like in their design, not because they feel cheap – they don’t – but because they’re so light and there seems to be so little to them. (Ronni) Abovitz, though, is quick to point out just how much is packed into that small space. “This is a self-contained computer,” he says. “Think about something close to like a MacBook Pro or an Alienware PC. It's got a powerful CPU and GPU. It's got a drive, WiFi, all kinds of electronics, so it's like a computer folded up onto itself...”

PHOTO CREDIT: Magic Leap/Getty Images

“One of the fundamental problems that Abovitz and his team at Magic Leap were hoping to solve was the discomfort that some experience while using virtual reality headsets and nearly everyone finds in the prolonged use of screens of any type. “So our goal is to ultimately build spatial computing into something that a lot of people in the world can use all day every day all the time everywhere,” Abovtiz tells me. “That’s the ambitious goal; it'll take time to get there. But part of all day is that you need something that is light and comfortable. It has to fit you like socks and shoes have to fit you. It has to be really well tuned for your face, well tuned for your body. And I think a fundamental part of all day is the signal has to be very compatible with you.”

I have seen videos and interviews where Magic Leap is explained and to what extent it can change the world around us. In a way; it is bringing the world into closer focus and allowing us to see things we have previously not been able to. Before I conclude with my hopes – and why it will be good for music – that Pitchfork piece posed concerns regarding privacy and personal security:

PHOTO CREDIT: Unsplash

“Aside from questions about whether technology like Magic Leap’s really will catch on as the tech industry predicts, the coming of mixed reality would bring other concerns. If the internet is always there, then it’s always watching us. The corporate behemoths that currently treat user data like it’s the new oil—not to mention governments—would know much more when they could apply facial recognition software to each face we see, record details from our real-world conversations, monitor our eye gestures. For now, though, the existence of an app like Tónandi points a potential way forward for artists under siege from the Muzak economics of streaming an opportunity to survive in that incipient world. And, perhaps, a forum to speak out about it too”.

There are always going to be problems and teething concerns but, if they can be smoothed in the coming weeks; there will be fewer risks and downsides compared to, say, Google Glass. The company was founded six years ago so one would imagine they have been working on the nuts-and-bolts of the design. Worries about security, weight and price will be explained but there are many in the music world that are getting excited. I feel it will be beneficial to musicians and listeners alike. For those disadvantaged and ill – who would be prohibited from hearing and experiencing music in a conventional manner – have the chance to see (literally) it in a new way. Music videos are great but I have always hankered after a way of connecting film/visuals and music in a modern impactful and magical way. Magic Leap might be that solution that means we can unearth more and create new genres; find ways of helping new musicians get their music to people; change music videos and help bring issues like sexism, racism and inequality to life – fighting them in a very bold and unforgettable way. We cannot judge the concept before it is fully rolled-out and realised. I am optimistic – always a fatal sign! – but there are signs to suggest something…

PHOTO CREDIT: Unsplash

WONDERFUL is on its way.

FEATURE: The Gift of Music: Dropping the Needle and Raising the Bar

FEATURE:

 

The Gift of Music:

ALL PHOTOS (unless credited otherwise): Unsplash

Dropping the Needle and Raising the Bar

________

THIS is the day where many of us…

are digging into gifts and sharing our memories online. Today, we will see (and have) happiness and good wishes pouring through social media. Whilst some have accused Christmas of being too commercial – there are only two days of the year when one gets presents so I embrace this element of Christmas – whereas others prefer the family time and togetherness. There is no wrong answer – the day means something different to everyone - but, as we check out our gifts and dive into the spirit of the day; I wonder whether lessons and education, in addition to presents, is what we should be passing to children. My point does not only apply to the young: music is for everyone and is a timeless, ageless gift. I do not necessarily mean a physical possession: passing down tastes and artists offspring is as precious and meaningful as a physical thing. We think about family this time of year and, as the tree is crammed with presents; there is excitement and happiness around the house. No matter what your age; there is that thrill of receiving and giving presents to loved ones. Whether you think it is a commercial day that lacks religious spirit or preserves Christian traditions – music is an integral part of Christmas. We have all been flooded with Christmas music, old and new, and had those tunes bouncing around the head. It is a day to be in the present (no pun intended!) but, also, reflect on the past. I have been casting my mind back to childhood and the best days.

IMAGE CREDIT: Freepix

One of the reasons I got into music at a young age was because of the exposure and opportunities I had in the 1980s and 1990s. I was fed the finest music ever in the childhood household and afforded access to vinyl, cassettes and C.D.s. I was given music-related gifts and, blended with that, a constant stream of eclectic sounds. I am not sure which is most instrumental to me (again; not trying to pun!) but I feel both of them played a part. I am not casting myself in the guise of a personal shopper but I feel few of us, young or older, are being provided the literal gift of music. One of the best ways to instil a passion for music in a child is to play it around the house. Many parents do that but I wonder whether the selections are broad and how committed they are. I was lucky enough to spend my early life in a household that was constantly humming with great sounds. It is because of that, and the music I was buying, that led me to pursue music as a career – and spend my time fostering the best new artists around. Soon enough; myriad music stuck in the brain and that began a life-long pursuit; an endless passion for the art. I wonder whether children/those interested in music are being given a good start.

I confess, for children, toys and the latest must-have gifts are great: that is what Christmas is all about, surely?! This day will fade and we will be back into the normal, day-to-day routine. Not only is music a great way of fostering interesting and forging musicians of the future; it has huge substance and meaning. I remember the first items of music I was given as a child. A red boom-box (or tape-recorder, as we’d call) had a dual-cassette feature (that was very advanced in the early-1990s) and I would use that to soundtrack races around the block – on the back of a go-kart my grandfather built as a present. The likes of T.Rex and Glen Miller (I had a broad taste!) would blast out of the speakers and create limitless joy. Not only did that humble gift provide an outlet for the music I loved: the memories have remained in mind and, in a way, carried on a love for music. It can be that easy and low-key. You do not need to make lavish gestures but music, in so many ways, can do more than create a hobby: it can enrich lives and give someone a purpose. This Christmas is nearly over – in terms of buying gifts – but, going forward, do not underestimate the importance of music in someone’s life. So much of today’s sounds are on streaming sites and digital means. That is all well and good but there is something special and pure about music’s beginnings.

Record players might sound like an expensive gift but they can last for years. As an accompaniment; a record bag with a few vinyl would open eyes and minds; a great start for a child and, for those already committed to music; a treasured and valuable possession. I have asked for vinyl this year – in addition to a book on The Beatles – and asked for them so I can enjoy these items years down the lines. They not only provide entertainment and get memories flooding back; there is that nourishing, fulfilling side. I listen to an L.P. and can lose myself for that time. It is there when I need lifting and provides inspiration and guidance. Even a retro/old-fashioned music gift – a cassette player and tapes – is a charming and original choice. Listen to all the greatest musicians around and they all say the same thing: music, physical and audio, came into their lives from a young age. Not only did they experience a decades-spanning soundtrack but were given record players, vinyl/tapes. From there, they continued that love and chose to follow music as a career. It sounds like I am trying to force people into a music career but there is that integral link between early exposure/nurturing and continued commitment. One need not spend a lot of money buying vinyl and a record player to make a musical impact. As I say; it can be something more basic or music being played around the house.

PHOTO CREDIT: Getty Images

In my thirties; I am still searching for new music and, if a chance for gifts comes along; I am scouring the electronic aisles for vinyl or a rare find. The pursuit and hunger for music does not end when you get older. It is important we provide music upbringing to children because, as studies have shown; there it helps develop memory, motor skills and personality:

“Research undertaken by a team of researchers in the 1990s showed that the exposure to music from early childhood onwards helps children to speak more clearly, develop a larger vocabulary, and strengthen social and emotional skills. The psychologist Howard Gardner already argued in 1983 that music intelligence is as important as logical and emotional intelligence. This is because music has the ability to strengthen the connection between the body and brain to work together as a team. For instance, when dancing and moving to music, children develop better motor skills whereas singing along to a song helps them to practise their singing voice. In general, the exposure to music supports children in their development process to learn the sound of tones and words…Many studies have investigated the importance of music in early childhood development since the 1950s.

 Two facts that are widely accept are that children do not express music in the same way as adults and that the years from birth to the age of six is the most important period for a child’s musical development. This is because even the youngest toddlers receive the tones of music and unintentionally differentiate in frequency, melody and stimuli. According to researchers, the early years of childhood are critical to learn to unscramble the tones of music and to build up a mental organisation system to memorise the music. This means that, like language development, toddlers develop their musical skills through imitating and memorising rhythms and tones of songs such as clapping to a beat and singing in tune. Without this ability children would not be able to develop their musical skills”.

A lot of these facts are already known but many are depriving children of a basic music upbringing – let alone any developed and sustained exposure. There are other reasons why the gift of music can enrich a mother/father-child bond:

“Further research also indicates that parents develop a stronger bond to their children when they enjoy music together. This way music is not only a tool that contributes to the growth and development of a child but it also helps the family to spend quality time and have fun”.

One can apply the same arguments and science to adults. Emotions and life is more complex as you get older: the mind develops and, psychologically, there are more challenges put in the way. Music’s place and importance become more focused and essential. Most adults have a love of music and listen to it on a semi-regular basis. Music has the power to help anxiety and depression; to make one feel less alone; to provide someone the drive to do more in life and take on new challenges. A single record/music gift can make a gigantic impact on someone’s life. I can chart my pursuit of music from my childhood and the upbringing I had – the music I heard and the gifts I was given. Even this far down the line; I have been inspired to rekindle a (long-forgotten) push to record music. I initially quit because of nerves and a lack of finance but I have stoked the fire back up – maybe not something sung; perhaps a samples-album or electronic-based recording. As we open our presents with fever and expectation, we will hang on to some of the gifts whilst some might last only a short time. Music is a gift that keeps on giving and does a lot more than provide aural stimulation. For adults and children, it can inspire a career and develop the mind; it can improve mental-health and provide direction; it can unlock memories and do so much more. It might be too late for this Christmas but, going forward, if you are looking for a gift idea or a surprise for someone special…

NEVER underestimate the power of music.

FEATURE: We Are the Resurrection: Why Manchester Will Play a Huge Role in 2018

FEATURE:

 

We Are the Resurrection:

IN THIS PHOTO: False Advertising/PHOTO CREDIT: Getty Images

Why Manchester Will Play a Huge Role in 2018

________

THEY say all the most exciting things…

IN THIS PHOTO: Stevenson Square, Manchester/PHOTO CREDIT: Unsplash

happen in cities! That is true but, from a musical perspective, most of the attention goes towards London. I can understand why excitement would be levied towards the capital: it is a bustling and energised city that draws you in and compels the mind. It is the way of things, where the record labels and media are based, depends on where they focus their time. That has been the way for a long time because there has been no real challenge and questioning. It can be difficult straying from London and look at music from other parts of the U.K. The problem is, as we head into 2018, that focus cannot be rigidly trained on London. I am one of those guilty of obsessing too much on the artists in the capital; promoting all the best new bands/artists coming through. The things is...there are other areas out there that are far more intriguing and exciting: Manchester is at the top of the list. I have always loved the city and, from a historical perspective; you cannot quibble with the legendary music that has come from the city. Over the past few days, I have been listening to a couple of documentaries on BBC Radio 6 Music: interviews with the brothers Gallagher. One, by Steve Lamacq, was with Noel – as he talked about his solo work this year and how he will move in 2018.

IN THIS PHOTO: Liam Gallagher/PHOTO CREDIT: ES Magazine/Ben Rayne

The other, by Matt Everitt, was with Liam. He was chatting about his first musical experiences, the end of Oasis and his debut (solo) L.P., As You Were. I am a fan of Oasis and, during the 1990s, it was that classic battle between working-class Oasis and the middle-class Blur. The Britpop battle that raged in the middle of the decade enthralled the nation and was one of the last great chart battles we have seen. Blur were considered the intellectual, cerebral type – based near the capital (Essex, actually) – whilst Manchester’s Oasis were the tougher, more accessible band. Blur won that battle in 1995 (when Country House pipped Roll with It) and, in the long-run, Blur won the war. Oasis’ best-two albums (especially Definitely Maybe) defined the early-1990s and, come their legendary gig at Knebworth; they were born legends and destined for the history books. One of the reasons I am mentioning Manchester is because of the North-South divide we are seeing. Maybe there is not the classist split there once was – there are plenty of working-class artists in London – but there is still that assumption the best and brightest are from London. I, as I have said, am culpable to an extent but I listen to artists like the Gallaghers and am charmed and stunned. I am not saying London artists – or from artists elsewhere – are boring but there is something special and different about Manchester artists.

IMAGE CREDIT: Getty Images

Listen to Liam and Noel talk and they are funny, open and refreshing. There is something addictive about them: the way they joke and play; the frank revelations and the way they describe their time with Oasis. I am not prone to huge sentimentality but I miss the heyday of British Rock/Pop and what happened back in the 1990s. Not only were Oasis celebrated but other northern bands like Pulp. In fact, just before then, The Stone Roses captivated the scene – and made an impression on Liam Gallagher – with their two albums, The Stone Roses and The Second Coming. The former was released in 1989; the latter in 1994. Ironically, it was their debut that made the great impact: the latter was less a second coming and more someone returning to work after faking their own death. By that, I mean their debut was such an immense work, they were unable to follow it up – the sophomore arrived in 1994; during a time when the likes of Blur and Oasis were forging their path and defining popular music. The 1990s was a fantastic time for northern music but I feel, since then, there has been s steady decline. That is not an indication of quality: the media has shifted its focus away and settled in London. Maybe that is because of the way the media/mainstream has shifted. There are more middle-class artists in the spotlight and working in the media – they tend to proffer artists who are like them and they can relate to. Because it is harder for working-class writers to get media jobs: there are far fewer working-class bands proffered and visible.

IN THIS PHOTO: PINS/PHOTO CREDIT: Andrew Benge 

This is a big problem that needs addressing. I am worried few working-class artists will get exposure and the scene will become too homogenised. One of the most exciting things I am witnessing is the revival of northern music. It is not as fast and hard as you’d like – the stubbornness of the media is a sticking point – but I am hearing a lot of great Manchester artists come through. We have all heard PINS and how well they are doing at the moment. They have a unique sound and have impressed critics with songs like Serve the Rich and All Hail. I am excited to see where the band goes and what they can achieve in 2018. They are a force to be reckoned with an offering an alternative to the rather limited and limp Rock scene happening in the South. Another group I have been looking at for a long time is False Advertising. I have been charting the trio for a year-or-so now and am impressed with the progress they are making. Like PINS; they have a unique take on Rock/Alternative and add Pop/Punk elements into the fray. They are worth keeping an eye out for and following next year. I know they have released a run of singles in the past – I feel an L.P. will arrive in 2018. They are making steps towards the mainstream and show what energy and innovation there is in Manchester right now.

IN THIS PHOTO: Maddy Storm/PHOTO CREDIT: Getty Images

Josey Marina made impressions in 2016 and was tipped for big things this year. She released her single, Heavy, earlier this year and looks set for a fruitful and productive 2018. Maddy Storm and Little Sparrow are two artists I know will make big headway next year. The former is a songstress who produces emotional songs that are reverb-rich and released her debut E.P., To the Sun, early this year. I know she is planning new material and gearing up for a busy 2018. I will follow her progress and can attest to her wonder and talent. Little Sparrow just released the track, Tender, and has impressed D.J.s like Chris Hawkins with her entrancing beauty and spellbinding vocals. Little Sparrow shows what a contrast is coming from Manchester right now. Larkins are hot property and being tipped as a breakaway band to watch. Songs like Tale of Cassandra recall Vampire Weekend whilst the ballad, Sapphire, is a tender and more restrained thing. Like False Advertising; they offer Punk-Pop physicality and colour. Heather, Ciara; Hugo and Charlie have been on the scene a while but Pale Waves are a band who have climbed steadily and made festival appearances in 2016 and this year.

IN THIS PHOTO: Pale Waves/PHOTO CREDIT: Getty Images

I know next year will be a big one for them as they continue to gain traction and respect. Their sound fuses the 1980s Pop of Madonna to the richer and deep sounds of Talking Heads. If you want to return to something more fired and dirty then Cabbage and The Blinders are worth your time.  Cabbage are from Mossley and, like Pale Waves, have been getting a lot of love and respect the last year – and they look set to carry on in 2018 and produce wonderful music. The Blinders are fresher but are a band who have produced some great sounds; have incredible tightness and are a fantastic live proposition. Manchester Evening News, BBC Radio 6 Music and other local sources are boosting the profile of Manchester’s music and ensuring the artists doing great work are getting the coverage they deserve. I hope the popular media makes efforts to collate all the great Manchester acts working at the moment because, as you see/hear the acts I have laid out – there is so much great and varied music in the city right now. I feel London has been grabbing headlines too long and there is a need for honest, ground-level music that comes from hard-working, relatable bands. I mentioned how working-class bands of the past – Oasis and The Stone Roses – captivated the nation decades ago: the time is right for the new breed of Mancunian artists to strike and impress. I have just touched the tip of the iceberg - but there are so many more great Manchester acts out there doing sterling work.

IN THIS PHOTO: Cabbage/PHOTO CREDIT: Getty Images

I have not included artists on the outskirts – such as The Orielles – who are getting great radio-play and respect. It is time to recognise the way music is changing and the need to embrace artists that talk about what life is like. One of the biggest drawbacks of modern music is the lack of artists detailing what is happening in the country; how life is for working people; something that goes against the proliferation of middle-class artists. I am not suggesting we will see anything like we did in the late-1980s/1990s when the biggest and most influential artists from the North. Manchester played a vital role and, with that drive, helped usher in Labour and changed the country. The people were united and it was one of the best times for music. We might not be in for another season that recalls the genius of Oasis and The Stone Roses but I would suggest something fantastic could happen. Few can deny Manchester is a vibrant city and, when you listen to the music, there is something instant and nuanced – the artists stick in the mind and get the heart racing. I hope the media pays attention to what is happening in Manchester and realises London’s stronghold needs relinquishing. Music lovers like me prefer the gutsier, expansive sounds of Manchester; music that reflects the nature and personality of the people there – some of the most intriguing and nicest folk around. The music of the city has guts and brains and, after a year that has provided little joy and unification; it is high-time we…

IN THIS PHOTO: The Manchester skyline/PHOTO CREDIT: Getty Images

KICK the Manchester resurrection into the mainstream!