FEATURE: Another Form of Hostility: Discrimination and the Continuing Struggle for London’s Black Clubbers

FEATURE:

 

Another Form of Hostility

  PHOTO CREDIT: Party Flock

Discrimination and the Continuing Struggle for London’s Black Clubbers

_________

MY eye was caught by a piece in The Guardian…

IMAGE CREDIT: Getty Images/Metropolitan Police

written by Jesse Bernard. The article looked back at the 2005-launched Form 696 that was created by Metropolitan Police. It was a risk-assessment form that mandated the promoters of London’s nightclub life to provide details of the events they were planning – including the race and ethnic breakdown of their intended clientele. It was, rightfully, scorned for being racist and discriminatory. The form instantly attacked the profitability and freedom of Rap, Hip-Hop and Grime. I can see a measure put in place if there was an immense amount of violence and brutality. Clubs and venues were threatened following Fabric’s drug-related incidents. They reopened and relaunched after being threatened with permanent closure. I felt that measure was exaggerated and rash. We know there are going to be drug incidents and violence at venues around the capital. The fact a couple of incidents brought Fabric into the fore should not have resulted in that closure – it is back in business but subject to tight measures and curfews. It wasn’t until November of 2017 before Form 696 was dropped altogether. When the Form was dropped; The Independent captured some reactions:

“Launched by Mayor of London Sadiq Khan, the review included a consultation between local council licensing managers, venue owners, the Musicians’ Union, London Promoters Forum and led by the capital’s Night Czar Amy Lame.

IN THIS PHOTO: Amy Lamé/PHOTO CREDIT: Amy Lamé

Mr Khan welcomed the decision, saying it would help London’s “night-time economy thrive” and ensures the capital is “a welcoming place for artists and DJs of all music genres and that Londoners are able to enjoy live music safely”.

He added: “I called for a review of Form 696 earlier this year because of concerns raised by promoters and artists in the capital that this process was unfairly affecting specific communities and music genres.”

Met Police superintendent Roy Smith said London had seen a “reduction in serious incidents at promoted music events, particularly those involving firearms” in recent years”.

I have a lot of respect for Amy Lamé and know the BBC Radio 6 Music D.J. is doing great work for London. She is helping safeguard the public and protect venues – ensuring those who spend the night enjoying music are not subject to needless harm and prejudice. She welcomed the abolition of Form 696. Although there is no legislation restricting access and right for black clubbers: there is a great fear they are being marginalised and pushed to the boundaries. Areas like East and South London used to be hotspots and havens because of the strong Grime scene. Forerunners like Wiley and Dizzee Rascal put the genre on the map. Dizzee’s Bow-based brilliance brought young black people together in a safe and secure space.

PHOTO CREDIT: Places + Faces

There are new Grime artists like Stormzy and Kano but, as other genres are resonating with the population of these areas – it seems there are fewer Grime and Rap clubs available. Some are being converted whilst others are recruiting more white patrons – some of whom are offering violence and hate at the established and loyal black crowd. The more gentrified and ‘clean’ London becomes; the more isolated black revellers feel. They consume less alcohol than white clubbers but receive much lower pay. Their standard of living is lower so, even in the clubs that retain their musical purity; the raised prices and inflated drinks prices means they are being squeezed out. There are various forms of discrimination at play: economical and violent among them. There are, as The Guardian article highlights, issues with entry and dress codes. Clubs, as part of gentrification, are stiffening their policies and insisting their patrons adopt a different look – this often conflicts with the style and identity of black clubbers. Many clubbers are going to areas outside of South and East London in order to find affordable and accessible music. The irony is, as they have to travel further; they are still spending the same as they always have – less money spent in the bar; more spent on an Oyster Card.

PHOTO CREDIT: Unsplash

Areas like Croydon are more affordable spots for the underpaid, outpriced black youth. They are leaving traditional hotspots and areas in order to sustain their passion and sociability. Not only does this mean they have to assimilate with a different crowd: they are getting further away from their city and feeling overlooked. London is the best city on Earth but, because of its popularity; bars and venues are being refurbished and renovated to accommodate influx and a growing population. All the ‘rough edges’ are being smoothed and those real, genuine spots – with a few more stains on the toilet floors – are being whitewashed and beautified. The club scene in East London is not exactly a trip through Dubai: it is still quite gritty and authentic in certain areas. If areas like Hackney and Elephant and Castle are ‘improving’ and being gentrified – Newham and Bow, perhaps, a little more genuine and grounded. There will be a time where all council estates and locales of London are rebuilt and bulldozed. It might not be that long before all low-paid locals will have to leave London altogether so they can enjoy a good night out. I know for a fact there is a lot of violence and hatred still being perpetrated in many London clubs. Even though there are venues dedicated to fostering the best Grime and Rap music around; there is a clear social division between higher-paid patrons from wealthier parts of the capital and the poorer (predominantly) black attendees.

PHOTO CREDIT: Unsplash

I have heard stories of scuffles and violence. Many have been attacked by bouncers and it seems, the more expensive it becomes and the stricter entry access becomes; the harder it is for young black clubbers to find inclusion. There is hope things will improve and stabilise. The success and advent of artists like Stormzy means there is a great demand for Grime and Hip-Hop at the moment. The only reason these artists rose through the ranks are those local venues and faithful supporters. There were fears, before Form 696 came in, that there would be a lot of trouble from various ‘sectors’ of London society. Implementing these codifications and guidelines was designed to ensure there would be less violence and trouble in London’s clubs – even if it did seem like a shot at black clubbers. The fact there was very little trouble did not prove Form 696 was a success and logical move: there would have been the same level of conflict without it being in place to begin. I still worry there is little consideration being given to the less-well-off in the capital. Maybe there is less bloodshed and illegal activity – against the black population – than previous years but, in another way; raising prices and forcing black clubbers further from the centre of London is another form of discrimination. It might not be as overt as attack and violence - but it is still seeing division and split through the community. In the past, clubs like Common Sense (Peckham) and Eskimo Dance have put on Grime nights and been affordable options.

IN THIS PHOTO: Club 49/PHOTO CREDIT: Getty Images

London’s Hip-Hop scene is evolving and spots like Club 49 and Bar Rumba proving popular; 100 and Supa Dupa Fly great spots that have affection and great knowledge of R&B/Rap/Hip-Hop. I look at these areas and, from images and prices listed; you wonder what kind of punter is coming through the door. The entry fees vary but, when you get to the bar; how much are you paying for a night out? The only way London can maintain a mixed-race nightclub scene is to consider those who earn less than the ‘average wage’. I can understand why some clubs need to modernise – for safety and, by projecting a classier image, they are more attractive – but it is coming at the expense of the low-paid black community. In order to diversify clubbing and the Grime/Rap/Hip-Hop scene; we need to, in a way, rebel against gentrification and offer more affordable venues. There are some out there but they are becoming fewer. In order to sustain the momentum of Form 696’s extinction; clubs, our Government and appointed guardians need to ensure black clubbers are welcomed and as visible as they were years ago – in areas that are becoming more expensive and restrictive. That might sound counter-logical but we need to ensure ever-growing gentrification does not…

PHOTO CREDIT: Pinterest

EXCLUDE black clubbers in London.

FEATURE: Spiceworld: Why a Spice Girls ‘Reunion’ Is a Missed Opportunity

FEATURE:

 

Spiceworld

IN THIS PHOTO: The Spice Girls captured last week/PHOTO CREDIT: @GeriHalliwell

Why a Spice Girls ‘Reunion’ Is a Missed Opportunity

_________

DEPENDING on how far along the spin-cycle…

PHOTO CREDIT: Getty Images

your union flag dress is – the more interested you’ll be in the news the Spice Girls are getting back together. I have never been a massive fan of the band, myself. You can lob criticism at their way all day long. They are manufactured – albeit more credible than the reality muppets they pump out now – and were primed, moulded and cut to an insane length. One suspects the girls’ weights were charted each week to ensure they were ‘commercially acceptable’ – I think there was a conflict when it was suggested, by management, Geri Halliwell (now Horner) was putting on too much weight – and that they were living a very clean and uncontroversial life. They only recorded a few albums and only two of them were good: 2000’s Forever, minus Halliwell, was a record too far. Each member had their role and place. ‘Sporty Spice’ (Melanie Chisholm) was the good singer and, well, sporty one; ‘Scary Spice’ (Melanie Brown) was the tough and edgy one; ‘Baby Spice’ (Emma Bunton) the cute and innocent member; ‘Ginger Spice’ (Geri Halliwell) the standout and ‘most likely to succeed’; ‘Posh Spice’ (Victoria Beckham) the least talented singer – but the most fashionable one. The last actual reunion was in 2007 when the girls embarked on a worldwide tour. It was reported over one-million people in the U.K. signed up for tickets – over five-million around the world.

PHOTO CREDIT: Ray Burmiston/Photoshot/Getty Images

Their first concert in Canada saw them perform to 15,000; they recorded a Children in Need single Headlines (Friendship Never Ends) and scooped awards – mostly for their existing and older music. It was hoped the girls would get back together for good but, following the limited run of the Viva Forever musical; the fascination faded and it was seen as the last throw of the dice. Although their recorded career lasted around four years; the Spice Girls created a legacy and inspired legions of fans. The reason I was not a fan of theirs had nothing to do with the music: strangely it was their political stance and lack of independence that got me. Some might say a manufactured girl group are meant to be subservient and disciplined. They were told what to wear and where to go; other writers penned their songs – although the girls pitched in on most of their tracks – and their love lives were under the microscope. Maybe rebelling and doing their own thing would have compromised their record deal and their popularity. For a band who invented ‘Girl Power’ – more on that later… - they were being directed by a group of men. That is not their fault – a lot of the girl groups through the years have had to exist a certain way. The Spice Girls were not as sassy and cool as En Vogue or Destiny’s Child; they were better than (if not as credible/tough) as All Saints; not quite as compelling as the best girl groups of the U.S.

What does this latest meetup mean for the band? The shot at the top of this feature is them all back together – although I suspect it is heavily edited and filtered! – and they were meeting to discuss possible ideas. From 1996-2002 – between Wannabe’s release and their split – the band helped add something very special to the world. Although they made some good music back in the day; when it came to politics…perhaps comments should have been left out of the media. They once dubbed Margaret Thatcher a Spice Girl – almost the same way The Beatles dubbed Sir George Martin the ‘fifth Beatle’. Not only does the Spice Girls’ patronage of Thatcher mark them out as mega twats – it derailed and undermined their Girl Power movement and what it stood for. I thought their latest regrouping would be a way of backing Jeremy Corbyn and throwing their weight behind him. Maybe they would make another silly mistake and label Theresa May the latest member of the group – who knows with them?! There are rumours as to what the reunion could yield. Some say a multi-million-pound deal could happen in China; the girls launching fashion brands and relaunching their music…maybe doing some shows here and there. The greatest relief for many seems to be they are not going to record any new music! If they had the same ability and sound as they did back in 1996, I would say the world needs Spice Girls to come back. The sight (and sound) of five near-middle-aged women slipping into P.V.C. suits and gyrating around the stage is unseemly, to say the least.

PHOTO CREDIT: Getty Images

If there was a reincarnation then it would be a more mature and different version of who they were. The details regarding the Spice Girls’ relaunch are vague but it puts them back into the consciousness. There is endless debate around sexism in the industry – barely a week goes by without my addressing it – and with music changing and adapting (there are few girl bands; girl-based groups who play Punk and Rock) the days of Spice Girls Pop rule seems like a distant memory. Once was the day you could not walk the high-street without seeing some Spice Girls merchandise staring at you. People – teens and girls, mainly – would line the streets for the latest Spice Girls album. Say what you want about the music and the authenticity of their ‘rebellion’ – there is a role for the girls in 2018. I wonder whether we will ever see a Pop girl group who perform instant hits and create movements and identities. Even the biggest, hardest-hitting bands around are a little bland and contrived. Gone are the days of genuine Punk spirit and those who could ensure for years. Pop is changing too - but is in no danger of moving back to the 1990s. In an industry where many ask whether looks and sex appeal are being placed over quality and talent. Maybe a regenerated Spice Girls would either be a tragic hark to their best days or a ‘grown-up’ (read: a bit crap) band. Creating a new band in their image would lack any spontaneity and credibility. I am in no rush to hear new material from them – having my public hair plucked individually by a convicted sex offender would be a more salubrious option – but there is something intriguing about their reformation.

PHOTO CREDIT: Getty Images

The role of women in music – and how far they have come – is, in part, down to band like Spice Girls. Maybe their brand of Pop has evolved beyond recognition but they were one of the first female bands (outside of Punk) to really stand out and stick a finger to the doubters. Perhaps their brand of rebellion was more cheeky and fun as opposed political and purposeful. Whether you see the Girl Power movement as a fad and gimmick or something that gave women/girls hope and meaning; you cannot deny it captured a spirit and defined a time. There was plenty of world-class music around in the mid-late-1990s. The fact Spice Girls managed to stand out – when the likes of Oasis and Blur were still in the popular forefront – was no mean feat. Alongside the Britpop movement (which was starting to dwindle and foster the next generation); the uplifting and catchy Pop of Spice Girls was perfectly timed. Although the girls cannot recapture the mood and feeling of the time: is the money-driven (one suspects) motives of 2018-Spice Girls a missed opportunity? I am sure they are less financially viable than in their pomp. None of the members has had especially lucrative or successful solo careers. None of them has side-stepped into acting (not in any meaningful way) and they seem content with a more domesticated role in life. They all had solo careers with varying degrees of success.

PHOTO CREDIT: Getty Images

Geri Horner’s career started promisingly but was short-lived; both Melanies had the odd hit whereas Emma Bunton did not really get off the blocks – the less said about Victoria Beckham’s attempt at a solo career the better! Rather than record new music; a wiser option would be something education and constructive. The world does not need Spice Girls-branded clothes or any ventures in the Asian market. They helped launch something unifying back in the 1990s. They helped promote feminism and, through image and music, brought pop girl groups into the fore. There has been nothing like them since. Sexism is a bigger issue and problem, many might say, than it was when Spice Girls came onto the scene. I am not sure how they would modernise and adapt Girl Power for the 2018 world. I know it would be a more popular decision than marketing and clothing. Female musicians are fighting and attacking prejudice but should one of Pop’s great female bands sit by and ignore a need for leadership and a powerful voice? Maybe that is part of their plan but the five members could, between them, do something great. The Spice Girls were always strongest and most relevant when they were a unit: the solo careers produced nothing of much note and endurance. The same goes for business ventures and a striking voice. I suspect the lucrative deals they are discussing are good for their bottom-line but seems like a needlessly over-speculated and hyped move for what it actually is. Few people, fans and non-fans, will care about any new Spice Girls merchandise, clothing or deals. The music world, when it comes to them, would prefer their take on modern gender imbalance and ways to inspire and guide young women. I think that is a safer and more lucrative course that should give the five-piece…

REASON to have a rethink.

FEATURE: NME of the State: Has the Former Industry Leader Lost Its Edge?

FEATURE:

 

NME of the State

 PHOTO CREDITS (unless credited otherwise): Getty Images

Has the Former Industry Leader Lost Its Edge?

_________

WE all have memories of racing to the newsagents…

and grabbing a copy of NME. My experiences began back in the 1990s when the Britpop phenomenon got underway. It was an exciting time for music and one that still rebound in my mind. I was keen to follow all the developments, exploits and explosions. One week, we would read about Blur releasing their latest hit. From there; we would see read about the Gallagher brothers lobbing a grenade into the Blur camp. The rivalry and scuffs between Oasis and Blur was reason enough to purchase NME. I would drool over the interviews and news available in the magazine. I think the last copy of the magazine I bought was back when The White Stripes were still going – maybe 2006 was the last time I actually got it. Since then, the publication has moved to the Internet and, as such, adapted to that way of working. We see very few (good) magazines on the shelves anymore. Certain professions retain the printed word: music is moving online and there are only a few decent magazines available now. Maybe they are being purchased by a certain demographic – slightly older readers who want to retain the purity of the written word – but I know there are younger readers who do not want to completely immerse themselves in the Internet. MOJO and Classic Rock is out there; Kerrang! still has a readership: apart from that, how many other magazines can you name?

Q is one…I know Rolling Stone is still healthy(ish). It is tough surviving in a market where we can get all the music news and goings-on at the click of a button. To me, NME has always been the leader and go-to magazine for the masses. That was the case as recently as the past decade. Maybe music has evolved (or unevolved) to the point where we do not have the same excitement as we once did. I trawl the Internet for ideas and news. There are different sites that I use and, between them, provide me all the information I need. It is rare I look at interviews and read too many other reviews. The reason I used to buy NME is their the features run and the fact I could sit down, engage with the musicians and read all the brilliant reviews in there. This is not me bashing a once-fantastic magazine. The fact they are on the Internet now means there is a greater scope and they can produce more content. The fear I have with NME is, oddly, the same I have with HMV. HMV stands for ‘His Master’s Voice’. There is a dog and gramophone as their logo – one imagines music would be their only concern! I find, as the years go on, music is less of what they do.

PHOTO CREDIT: Unsplash

You walk in a store (those that are left) and it is filled with D.V.D.s and gadgets. There is a bit of music here and there but, unless you go to one of the bigger stores – like the one on Oxford Street, London – then you are going to find less and less music. It is the same with the online content of NME. The ‘New Musical Express’ had that decades-long reputation as the bible for the music-loving masses. There has been criticism of the magazine since the 1970s (or earlier). Objections aside; there have been some great moments and wonderful articles. It is one of the reasons I wanted to become a journalist. Now, in 2018; I do not really check out NME. There are a few reasons for this downturn. Sites like Pitchfork, The 405 and The Guardian provide better content and there is a specific focus on the music itself. I find the features are more compelling and the interviews more in-depth. NME does produce interviews but it is rare I am actually captivated by them! The magazine/site, to me, defines cool and should be about cutting-edge artists and the strongest out there. I see too many features of mainstream acts and Popstars; features revolving around areas NME should not be involved with. The best thing about NME, now, is the music news. They are on the button and always on top of everything happening. The reason I go to other sites is (because) they can offer more than the latest news.

PHOTO CREDIT: Unsplash

Every site has adverts and banners but, at NME’s website; you are inundated with adverts and pop-ups. I click on a page and, before I know it; there are videos playing that usually start with adverts! If you have to sit through a thirty-second advert each time you play a video – you are less likely to come back and stick with the site. A lot of the reviews are either too brief or predictable – lots of four-star assessments; contributors overrating a lot of releases – and they do not really produce too many original features. It is sad to think the legendary publication has not only become a spent force in printed terms – offering it for free and then, inevitably, giving up on the idea of printing it – but it is producing less quality content. Back in 2015, when sales were dipping and the end was near; The Irish Times outlined the facts – and gave their views regarding the quality-relevance debate:

“…All of which makes the current wave of press stories about the once venerable magazine a bit awkward. Last week’s circulation figures showed that the magazine now sells just under 14,000 print issues every week. There are also 1,389 digital sales, but it’s clear to all that the glory days when the NME was shipping 300,000 copies a week are well and truly over and are not coming back. Indeed, you can measure the slow, steady decline of NME sales in Guardian Media news stories from August 2011, August 2012, February 2013, February 2014, August 2014 and, of course, February 2015. NME Deathwatch is in full effect…

PHOTO CREDIT: Unsplash

The NME’s real problem, though, is a content problem. The reason why print sales have slumped is because the print magazine does not offer anything unique or different to make you part with your few euro. I went through a phase a few years ago of buying the magazine every week, but it quickly dropped off my radar again when I realised that I could find the info I was buying the magazine for, info on new bands mostly, from various online sources. There was also the realisation that those non-NME sources were way ahead of the NME when it came to new acts and that they weren’t waiting for some vested interest or press officer to tip the NME off about the act in the first place”.

The decline and near-death of NME has happened for a number of reasons. There are a lot of articles out there – most from 2015 – that theorised why the magazine went free and why the sales declined. One of the reasons I have abandoned it is because of the brevity of the pieces and the lack of features. There are too many adverts and it is a rather frustrating experience visiting the site. Is the lack of great Rock bands contributing to the lack of NME fire? Tony Parsons wrote a piece for GQ (in 2015):

“It is true that every newspaper and magazine on the planet is still feeling its way in the new digital age, and no definitive model has yet emerged of the best way for a print publication to thrive in the modern world. But the NME has a problem that is not shared by the New York Times or Your Dog magazine…

“Rock music grew old but the NME stayed young. It never went dad rock. It never aped Mojo. Instead of being a curator of a dying art form, the NME kept trying to break new music. This is to the paper's eternal credit. The NME was, at best, God's A&R man. But what happens when there is no Johnny Marr out there knocking - uninvited - on Steven Morrissey's front door? What happens when the high-IQ misfits are starting websites instead of bands?

What happens when the music is no longer the centre of the universe? The NME mattered when the music mattered. But the very reason for the NME's existence - reporting from some damp, unlicensed basement where The Rolling Stones or The Jam or The Stone Roses were tearing the place apart - is no longer there”.

There are other reasons why NME is no longer the go-to magazine/site of choice. Greater competition means there are choices and other options for journalists. New brands mean writers are going elsewhere. Certain sites offer greater specificity and niche tastes; it is easier tailoring sites for a specific taste/market – NME is quite broad and old, now. It has had a great life and continues to influence but, as more rival spring up; it has not adapted in the right way. It seems you get more film and T.V. news than music now.

PHOTO CREDIT: Unsplash

I got to their site and have to wade through so many non-related articles before I get to something I want to read. The sheer volume of other sites means I do not really focus on one for any real period of time. I flick between them and get a little something from each of them. The greatest two threats and reasons why NME has declined is the changing tastes in music and the popularity of the Internet. NME has always been about proffering the best Rock, Indie and Alternative out there. When it reached a modern peak in the 1990s; the music scene was a lot stronger. There were great working-class bands and a great wave of British talent. We had Blur and Oasis duking it out; Pulp and Suede offering something special. Even when The Libertines and The Strokes came around (in the early-2000s); there was a real place for NME. It was at the frontline of reporting and perfect for these bands to get their faces seen. Since then, Pop has taken over and there are fewer working-class bands – even with the rise of IDLES and Shame; there are fewer great Rock bands around. That means the authority and relevance of NME have been called into question. The simple fact is, as music has changed from the printed to digital; NME has not been able to adapt to the shock and fallout.

Since 2015, when it was threatened, it has tried to entice readers in and keep its circulation. I assume there are fewer paid contributors now; it is harder making good money working there and, because of that, writers are going to sites where they can afford a bit more. Advertising helps get the revenue in but, the more they rely on that, the more people are going to avoid the site – annoyed at the constant glare of crappy products and trailers! Maybe I am pining for the past and trying to get a return to those glory days. It is dangerous to live in the past, I know. What worries me is the fact NME have not really coped with the end of their printed career. They could have created a great, organised and appealing online market. What they have done is compromise and broaden too much. We do not go to NME to read film news and read articles from anyone outside of music! I do not write about the latest films because, surprisingly, that defeats the point of a music blog! I am sad the site/magazine has lost its place in music and seems to be a historic footnote. It was once the bastion and king of all music journalism: now, with younger, tauter brothers on the scene; the flabby and greying NME seems to get more criticism than praise. Maybe its fortunes will revive but, as music fans are looking elsewhere for their content; it seems to the heady days of NME…

REMAIN in the past.

FEATURE: Sit Down. Stand Up: Why Underrated Albums Warrant Fresh Ears

FEATURE:

 

Sit Down. Stand Up

  IN THIS IMAGE: The album cover of Radiohead's Hail to the Thief/ALL IMAGES (unless credited otherwise): Getty Images

Why Underrated Albums Warrant Fresh Ears

_________

AT this very moment, I am listening to Sit Down. Stand Up…

PHOTO CREDIT: Unsplash

by the irrepressible Radiohead. It is the second track from the band’s sixth studio album. Released in 2003; it (the album) was seen as a minor step between their 2000-wonder-work and 2007’s 'Radiohead 2.0' masterpiece, In Rainbows. After the Kid A/Amnesiac period of 2000-2001; few expected Radiohead to have a whole lot more in the tank. I remember when the album came out: as a huge Radiohead fan, it took a while for Hail to the Thief to resonate and seduce. Its nervy and urgent one-two, 2+2 = 5 and Sit Down. Stand Up is the band at their most insistent and unexpected. All the songs on the album have alternative titles (in parentheses). 2+2 = 5’s is The Lukewarm.; Sit Down. Stand Up’s is Snakes & Ladders. The best, in fact, is Sail to the Moon’s Brush the Cobwebs Out of the Sky. (I am not sure if I have put all the upper-case letters in the right place - the band did tease the rules of grammar). The album received good reviews when it was released - although it was muted compared to their early acclaim. Those who saw promise highlighted the confidence and ambition running throughout. Others, who found it less charged, felt it was filler-heavy and lacked the consistent genius of, sat OK Computer. Thom Yorke was inspired by the ongoing War on Terror (around that time) and right-wing politics. At a time, fifteen years later, where we are seeing a return – or a continuation? – of those fears…surely Hail to the Thief deserves new investigation?!

I grant there are a few weak tracks on the album – The Gloaming, I Will and Scatterbrain could have been left out – but, if you erase them; you have a solid eleven-track album that could rival their finest work! Maybe a lack of strict editing killed the album’s chance of getting into more minds. The opening two tracks are intense and beguiling; Sail to the Moon passionate, beautiful and tender (dedicated to and written for Thom Yorke’s son, Noah) and A Punchup at a Wedding funny, moody and magnificent. There There is, in my view, the finest thing they have ever done! It is hard to put into words how good the song is – so complex, gorgeous and spine-tingling. As a whole, bar a few weak moments; the record is sublime and very underrated. That 2003-nugget is not the only record that deserves fresh ears. Coldplay’s Parachutes, despite its negative associations (it is a Coldplay album, after all!) is actually a lot stronger than many give it credit for. It is a template for superb Pop that many should hold dear. From hits like Yellow and Blues-influenced songs like Shiver – it is a solid album and, as a debut, one of the best ever. Beck’s Midnite Vultures is another one that tends to hover under the retrospective radar. It is as eccentric and scattershot as Odelay but, to many, not nearly as good! Debra and Sexx Laws are stone-cold stunners; it has the Funk brilliance of a Prince or James Brown album – with the invention of a mid-career Beatles disc.

Pearl Jam’s Vitalogy is a record that warranted/warrants more. Elliott Smith’s Figure 8 is an album I am seeing a lot of artists name-check as fountains of knowledge. It was released in 2000 and saw Smith transcend from minimalist solo artist to fully-fledged band-leader. It is flourishing and swelling; diverse, symphonic and grand in place – not what the established core were expecting. Many critics recognised its brilliance and evolution: others were scared and felt it was a drastic-move-too-far manoeuvre from Smith. Fleetwood Mac’s Tusk is seen as weak compared with the faultless Rumours. Tusk followed Rumours and, considering the tensions within the band during that album: few would blame them for producing something lesser and unfocused. As it was, even as a double-record; the album is triumphant and contains so much variation and quality – standouts include the title-track and Sara. One hears about Rumours but, when addressing Tusk; many feel it is too long, muddled and quality-dry. I feel that is nonsense: immerse yourself in the record and discover a band at the peak of their powers! Blur’s Think Tank was released in 2003 and suffered a few problems. There were few who expected the group to continue as a unit. After 1999’s underwhelming  13 - and the ‘best of’ the following year – that was seen as that, really.

Think Tank saw tensions and strains in the ranks; Graham Coxon walked out long before completion and (Think Tank) saw Damon Albarn assume new roles – taking on guitar duties for most tracks. Like Radiohead’s Hail to the Thief; Think Tank sports a marvellous opening duo: Ambulance is a beats-heavy, evocative piece of immersive brilliance; Out of Time blissed-out, sweet-leaf and disembodied. Apart from the zany, processed vocals on Crazy Beat – most of the songs on the album are stunners. Brothers and Sisters name-checks drugs and addictions (how we are hooked on various substances) whilst Caravan features ‘gloom tubes’ and is a sensual, body-transcending experience. We’ve Got a File on You is a sixty-two second Ramones blast; Good Song and Sweet Song are named appropriately – Jets is, perhaps, a little overlong. Some critics felt the disharmony fractured the creative process; Albarn going a bit crazy and indulging his various whims. He was taking from African music and influenced by new sounds – whereas previous Blur records took from U.S. guitar and British Pop.

Nirvana’s In Utero is often seen as the inferior successor to Nevermind. That record was a commercial runaway and megalith of success – In Utero a more subdued, tangled and raw effort. In Utero is (was) Nirvana returning to their roots; penning an album free from polish that did not aim for the charts and singalong crowds. It is a sharper and more abrasive beast. The three boys – Dave Grohl, Kurt Cobain and Krist Novoselic – were turned up to eleven and on fire! Scentless Apprentice, Very Ape (much-aped and sampled); Rape Me and Heart-Shaped Box are all insane and wonderful. There are, yeah, a couple of dodgy scrapes among the pack – Tourette’s among them – but there are out-and-out classics abound! Joni Mitchell’s Clouds is a record overlooked when compared to her best work. People do not really talk about it with the same sigh-and-adore as Blue and Ladies of the Canyon. Ladies of the Canyon was released in 1970; Clouds the year before. In any case; it was a hell of a two-year period for the songwriter. 1971’s Blue would take her to another level! Clouds has Both Sides, Now and Chelsea Morning; Tin Angel and Roses Blue. There are so many other albums I was going to include in this piece. They range from those many assume tragic (Spiceworld) to classics you do not hear about too much in 2018 (Led Zeppelin III and Songs in the Key of Life) – it is a shame so many were not recognised at the time; others have faded from the mind and deserve a dusting off!

I would be interested to hear what others think because, in my mind, there are dozens of albums that were either underrated at the time or, over time, have lost influence. I am revisiting records from Ramones and Destiny’s Child. There is no link between them but both could spearhead much-needed movements: the former could help bolster the Punk movement and great Alternative bands of today; the latter could inspire a new legion of girl groups…those concerned with writing bangers as opposed being led and moulded by others. If you favour Bon Jovi’s Slippery When Wet or the endless fascination of The Stone Roses’ debut – there is validity and cause to argue they need more attention and respect now. We often cling to classics and what others deem to be the ‘best’. Many albums are underrated upon release and only pick up (justified) acclaim after the fact. I guess one can argue it is subjective arguing why a certain album is underrated - that is true but that does not diminish the argument. There are certain albums that, regardless of whether you are a fan, should have a higher place in music’s legacy. Tusk and Clouds are two albums that deserve it; Think Tank and Hail to the Thief two more-modern examples – those, at the very least, are far better than many gave them credit for!

I will leave it here but, as I say: what are the albums, you feel, were overlooked and underrated when they were released? One can argue The Beatles’ debut is not seen as a true classic. It is a scrappy thing and, as such, not regarded as highly as Revolver and Sgt. Pepper’s Lonely Hearts Club Band. Please Please Me is The Beatles at their most basic and uncomplicated. It is them recording an album of set inclusions – what they were performing live at the time. It is not as staggering as their later work but, as an example of how inspirational and exhilarating they were; you cannot deny it is a fantastic achievement. I have been thinking, too, about D’Angelo and the Vanguard’s 2004 masterpiece, Black Messiah. That is not only considered one the best Funk/R&B albums of the decade: many see it as one of the finest albums of the past twenty years. It is a masterful album that addresses faith, rebirth and politics; black-rights, love and injustice. Black Messiah is hardly talked about today! At a time where we need leaders and inspirational music – maybe a reinvestigation of that record is warranted?! I will leave things there because, I appreciate…it has been a long day. I wanted to look at some albums that have received damp praise (compared to what they deserved) and why they should be re-examined. The last one I will throw in is the super-mega-duper Debut - by the peerless and always-awesome Björk. Some do not rate it as highly as albums like Post and Vespertine. I feel Debut is the Icelandic innovator at her explosive best. From Human Behaviour's nervy and tribal-drummed bellicose; the rapture and ecstasy that runs through songs (like that and) Violently Happy; the allure and beauty of Venus as a Boy; the huge chorus and Dance bliss of Big Time Sensuality - it a sensational album from start to finish! Everyone will have their opinion on the matter – it would be good to know which albums others consider underrated. If you do have a particular ‘favourite’ that has been buried in the annals of near-obscurity; make sure you pick it back up, put it on...

IN THIS IMAGE: The cover for Björk's album, Debut

AND let people know how good it is!

FEATURE: I Heard a Bird Twitter in Berkeley Square: Are Some Artists Neglecting the Most Important Social Media Tool of All?

FEATURE:

 

I Heard a Bird Twitter in Berkeley Square

 ALL PHOTOS: Unsplash

Are Some Artists Neglecting the Most Important Social Media Tool of All?

_________

I raised an interesting point on Facebook…

a few days back. It might not have been a calm discussion: more, a coruscating rant against musicians who do not have a Twitter account. It seems, in this day and age, every musician would understand the importance of the platform! Other people made some counter-arguments. They, for one reason or the other, do not use the service. Perhaps they are not getting true value from the site. It is only legitimate and worthwhile if you can get your music out to the people. If you float a profile out there; leave it a while and nobody comes your way – the temptation to leave the site is fair enough. Twitter is a site that appeals to those who want to get their music out to fellow artists, labels and radio stations as quickly as possible. I feel Facebook is more useful for personal interaction – it is less effective regarding music promotion and spreading material. I use Facebook for my music work but it is merely there for my contacts. Little of my work is shared and I know there is a limited scope. I can post a review or article and, unless someone shares it; it is hard knowing how far it goes. It takes longer to share work on Facebook – a few seconds but still a little heftier – and I prefer the speed and brevity of Twitter. I can put an article out there and tag in all the artists I want. It is out there on the page and it looks good. I have more contacts on Twitter and it is a lot easier to connect with others.

You cannot force people to follow you but it is a lot easier to follow others – few ask for permission and it is simpler building relationships. Facebook is better for messaging and bonding in a deeper way – although you might not personally know a lot of the people you are messaging. Twitter, to me, is a business tool: music is as much a business as it is a career/passion. If you want to get your music to the world and build a decent fanbase – surely one cannot ignore the powers of Twitter?! This is my assumption on the matter – I know others disagree and there is a debate. Twitter is a communication call and one that, if used sagely and effectively, can do wonders. The reason I was so perturbed the other day was because of an interview I conducted. I took the band on – I get so many requests and feel no reason to turn many down – and, without thinking, ploughed on with the piece. I knew they had a Facebook page but could not see a Twitter page listed in the bio. I assumed the P.R. company missed it out – they are not always helpful when it comes to logical aspects – and I had every faith I would find one! I looked and checked and, after confirming it with the agency; they revealed the truth: the band do not want to be on Twitter!

I found this somewhat baffling. Even if you are starting out in the industry; why would you ignore Twitter? I can understand a lack of Instagram visibility. I do not have an account and neither do I need one – nobody needs to see my face or chart my goings on beyond what I post on my blog. I do not record music so, for the most part, I use Twitter and Facebook. As the blog becomes more wide-ranging, I will change this. I will bring in a YouTube account and, perhaps, SoundCloud. There are bands who do not want to be exposed and too visible. Some, cool and edgy, see Twitter as another step towards commercialism and corporatism. If they want to do that then they know the risks. Some find greater value in Facebook and word-of-mouth. I cannot understand that assumption. Facebook is not nearly as powerful and accessible as Twitter; it is harder to connect with music professionals and more difficult to recruit a massive amount of followers. All of the opportunities and breaks I have had the past couple of years came from Twitter. I wrote a piece on BBC Radio 6 Music and shared it with the station – tagging in several D.J.s and producers. The fact I did that meant it got ‘likes’; it was shared and commented on by those D.J.s – followers of those people commented and, before long, the article was extended from various tentacles. It was a big moment and one that could not have happened without Twitter! From that one post; I got to meet Matt Everitt – a music news reporter for the station – and given invaluable advice.

I have been on the site for years but did not need to be: I could have posted that article five years ago and would have the same result. I have been contacted by musicians and gained so many opportunities from my time on Twitter. I have a lot of followers and, every time I review/interview an artist; new people see my work and join the ‘flock’. It means I have artists I can contact for work and more who see my work. For musicians; even at the very start – where they have no followers – they can follow similar artist and labels. Before long, they will get people into the tent and their foundations will expand. It took me a long time to get where I am but I have a long way to go. I feel a lot of the cynicism stems around patience and not getting far ahead right away. The band I reviewed had no excuse for ignoring Twitter. Their music is missing out on a huge market: included in there are radio stations, big artists and who knows what! The fact my interview was published and, surprisingly, ignored and fell down a hole was inevitable. If the band is unable to see it on Twitter then it will not get shared and promoted. There is no risk to having a Twitter account. One does not need to pay and it is easy to operate. The fact you can easily connect with so many others freely is a luxury Facebook does not have. You can message people but getting in front of them is not nearly as easy as Twitter.

I can see how some might overlook Twitter. If you are a big artist then you might not need the constant work and effort needed to keep the profile relevant and active. The site is best for those new and upcoming musicians who want find fans and ensure their work gets seen around the world. Facebook is becoming more advert-driven and profit-seeking than ever before. In order to get my posts beyond the walls of my profile; I have to ‘boost’ my profile – pay Facebook to share it with random people. That might generate a few more views but, in reality, it is not as controlled and logical as Twitter – I have no idea who the piece is going out to and whether they are actually reading it. Throw in the fact I have to PAY to do that means I am reluctant to do it for some of the more minor pieces. Twitter is a much more cooperative and reciprocal vessel (compared with Facebook). It is said one-fifth of those you follow will follow you back: that gets larger as you become more popular. People do not like being bothered on Facebook. I try and add various people as ‘friends’ – music-related and to further my work – and they either reject the request or ignore stuff I post.

I try to limit my posts to a few each day. If you do more then people will not be interested and start to get annoyed – this spam approach to social media leads to exodus and irritation. Twitter works the same, I’ll grant you – the fact the average tweet is shorter than a Facebook page makes it less irksome. Different people, depending on the style of music they play and what section of the industry they work, will have their preferences. My argument is not that you should ban Facebook and only use Twitter: I am stating you should use BOTH. I can see other people’s arguments for preferring Facebook – more personal and they prefer its interface. Even if you find a preference in one site; how does that translate into ignorance of another?! If you want to get as far as possible in music then you need to use both and ensure you get the most out of them. That might mean a low-level Twitter coverage and occasional tweets. There is no real rational reason for ignoring Twitter. It might not be as beneficial and profitable as you’d hoped – that does not mean it is worthless. There are great sites that musicians should consult if they want to make the most of Twitter. Here is one...and here is another. Take a look here, too.

The best article I have discovered is this one from Readwrite. The writer talks about the way Twitter connects fans with artists

“The biggest and most obvious advantage of using Twitter for artists is the ability it offers them to engage directly with fans. This is something Amanda Palmer has become quite well-known for among those that follow her. The Boston-based musician and member of The Dresden Dolls is described as a “Twitter ninja” on Twitter’s official guide for musicians and is generally recognized as one of more active and engaging musicians using the service.

Not only does Palmer chats back and forth with fans but she eagerly seeks their input on things like songwriting and t-shirt design”.

It went on to look at the ‘value’ of Twitter and get the best from it:

“Everybody says social media is important, but does putting in the effort actually pay off? It depends on what one’s definition of “value” is and, of course, on who the artist is and what they’re approach to social networking happens to be.

As with most forms of social marketing, the primary value here is in building up one’s brand and establishing a line of communication with customers – in this case, music fans. It may not lead immediately to an increase in record sales or concert attendees, but the act of cultivating those relationships over time will probably increase the likelihood of fans coming out to show or buying a record”.

I have my preference and I can understand why SOME people would prefer Facebook. For artists who want quick access and communication; those who want to find like-minded followers – without bothering people looking for a personal space – should always flock to Twitter. There are natural downsides to the site. It can be expensive to market your work and there is no real messenger service. I never use the site to quickly message someone and chat: I use it to put posts out there and share other people’s work. That is my point, mind you. I have Facebook for personal needs and sharing work with people I know well. Twitter is there to get a bigger audience among people I know less well. Having both options helps me get my work to as many as possible – it would be nice if there was a bespoke music social media tool that could assimilate the two big sites and go even further. I cannot fathom those who ignore Twitter and feel it will provide little use. It would do something for everyone who uses it! If you want to get far in the industry and capitalise on the wealth of professionals and like-minded souls out there; Twitter is the easiest, fastest and best-configured site for that! At the very least, using Facebook more than Twitter – but not ignoring the latter – is a compromise. Anyone who completely overlooks Twitter and feels they are better off without it are going to…

LOSE a lot more than they gain.

FEATURE: Spotlight: Shame

FEATURE:

 

Spotlight

  PHOTO CREDIT: Loud and Quiet Magazine

Shame

_________

EVERY time I tackle this feature…

PHOTO CREDIT: Africa Pombo

I learn something new about the band/artist concerned. Shame are on the block and with good reason: they are one of the most compelling and demanded bands of the moment. I have listed them (in the past) alongside peers such as Cabbage and IDLES: a couple of young bands amazing critics and fans with their honest and stunning music. They all talk about the experiences of modern life and what it is like for them. There are no pretences and egos: the bands produce music that is natural to them; designed to inspire listeners and get them involved. Shame are a band who look at love and the unpredictability of daily life in a fresh, humour and personal way. The boys are signed to Dead Oceans and based out of South London. I said I was going to get away from the capital a bit and look at other areas. It is inevitable I would return there at some point. Whilst I think the North is a more prosperous and promising area when it comes to the new bands with a unique and promising bent. That is not to say London is infertile and meagre. Shame prove there is a lot of strength and inspiration in the capital’s waters. The boys were touched and saddened by the death of The Fall’s Mark E. Smith. It is unsurprising considering the comparisons between the two...

PHOTO CREDIT: Holly Whitaker Photography

The Fall’s leader was a master when it came to those witty and sardonic tracks whose music sounded like nothing else out there. Shame will not reach the heights of The Fall: they are making strides regards distinguishing themselves from the pack and creating something wonderful. I can hear some of Smith’s candour and accent in the music of Shame. In a world where bands have less of a market share than past years; there are fewer great bands than there were years ago – it is hard making a mark and getting the critics’ attention. Anyone feeling sorry for the band should remember one thing: they are currently in Australia and, from the looks of things, enjoy the hot weather, tepid beer and general coolness. Between jumping into hot pools and downing some cold ones – the guys will play some gigs and, you know, generally rock the Australian public! The band have already sold out Electric Ballroom (London) later this year. They are playing London gigs in April and, between now and then, taking their music around the world. The demand is coming in and the boys busy – consider their album, Songs of Praise, and that can hardly take you by surprise. I was expecting a recreation of our oldest-running Sunday T.V. shows – a lot of choral singing and bewildered old people bleating on about God. In fact; I am glad we did not get anything vaguely ecumenical and religious (the cover for the album reminds me of The Beach Boys’ Pet Sounds).

PHOTO CREDIT: Getty Images

Pitchfork, when reviewing the album, stated the following:

“…But in their fight to distinguish themselves from every other white male British guitar band, Shame imbue their post-adolescent rage with wit and, crucially, an awareness that they may never succeed. From the opening murky “Dust on Trial,” frontman Charlie Steen is fixed on the idea of remaining unheard: “What’s the point of talking if all your words have been said?” He preempts the inevitability that British critics will herald them as saviors of the scene by rejecting the construct. “The idea of a rock star is offensive,” he told the Guardian in a profile that was splashed across the paper’s front page”.

Look closely at that Guardian profile and one hears a band who do not want to be seen as Rockstars and idols. They want to affect and influence – without compromising credibility and their purity. There are background snippets and quotations that really stand out. In terms of their formation and beginnings (when asking drummer Charlie Forbes):

“Shame formed around the Queen’s Head pub in Brixton, the former headquarters of the Fat White Family. Forbes’s dad was a friend of the landlord, who let the young band rehearse in an upstairs room (“Every day,” Forbes says. “Just hop on the bus to the after school club”). There they met assorted luminaries and recidivists of the south London music scene, but managed to avoid the worst excesses of the Fat Whites and their friends, largely through being too young to realise they were hanging around with committed hard drug users (“We were oblivious,” Forbes says).

They stumbled over lucky break after lucky break. Not just getting a free rehearsal space for 15 months, until the Queen’s Head was converted into a gastropub, but meeting people who then gave them studio space, and getting free advice from musicians who had been chewed up and spat out by major labels. What they learned was the importance of keeping as much control as possible over their decisions, which led them to sign to indie imprint Dead Oceans for their debut album, Songs of Praise. They also think the very grime of the Queen’s Head shaped them into being Shame: “I don’t think if we had started in a squeaky clean studio it would have been the same,” Forbes says”.

 Frontman Charlie Steen offered some advice and concern when it comes to that Rockstar lifestyle:

“That lifestyle could only exist because of money. Bands can’t go out now and get a kilo of coke or drive to Las Vegas in a Ferrari. Now it’s get a gram of speed and sit in a Travelodge. That’s the reality of it.”

The guys were part of the clique that bonded HMLTD, Goat Girl and Dead. The South London bands transcend the image of modern-day bands. They project a more realistic and exciting brand of music. They do not want the trappings and riches of a style of life many chase – those with perfect teeth and hair that get laid every night and lust after the spotlight. Shame have laid into the Conservatives and the manner in which they are ‘running’ (or ‘ruining’) this country. They have seen what P.M. May is doing and attacked her form of government. Our leaders are not really here to serve the masses: Shame know this and project that dissatisfaction and rebellion through their music. Songs of Praise is filled with songs that talk about youthful existence and the way the country can improve; why we all need to band together. It is appropriate a band who wants to bond the masses should give their album that religious-homonymic potential: pastors who see the darkness around them and want to do something about it. Their start was modest and they relied on advice from musicians and any chance they had to get into a rehearsal space. The fact they have got a deal and are touring the world is as a result of great music and constant graft. The band has that working-class ethic that means they are going to turn down big-money deals and corporate sponsorship.

They refute that gaudy and vile life where their faces will be plastered on billboards and they are hocking every gadget and service they are offered. They want to remain rooted and balk at the idea of becoming big-league stars. Whilst they would never exclude fans of a certain class/political persuasion – one feels they would dissolve a Conservative member/politician if they were within spitting distance of their gigs – you feel this is all about the music. The guys are all about the energy of performance and getting their sounds to people. They are, in a way, political crusaders who are providing something deeper and inspiring. Last year saw the flourishes and bloom of their early-career gestation. They were a new name and, pre-album, a popular force. They toured around Europe and, between dark nights in vans and eating anything that looked vaguely palatable – that lifestyle took its toll and their health was affected. Steen had panic attacks and was vomiting frequently. The riotous and exhausting touring schedule meant there was a natural end: they had to cancel some gigs because of Steen’s ill health. There are worries the popularity and reception afforded Songs of Praise could do even more damage. The guys are in Australia and are back in the U.K. before too long. They will tackle festivals and various nations; they have a long gig schedule and will have few days off between dates. I have quoted a lot from others but the truth is this: the band mean business and have a long career ahead of them. I hope the success and increased pressure does not see them abandon their ideals of naturalness and rejection of superstardom. The more celebrated they become; the harder it is to maintain that working-class, grounded persona. I know they will do their best: creating albums like Songs of Praise will see them maintain that balance of credibility and popularity. You urge them to succeed and look to see where they go next; we wait to see how good they can get and how they lead the scene. They have had a hard road and overcome obstacles along the way. Their success is deserved – so you cannot really deny them their acclaim and position. As they wake up in the warmth and scenic wonder of Australia it makes you realise what…

PHOTO CREDIT: Shame

JAMMY bastards they are!

_________

Follow Shame

PHOTO CREDIT: Pooneh Ghan

Official:

http://shame.world/

Facebook:

https://www.facebook.com/shamebanduk/

Twitter:

https://twitter.com/shamebanduk

Instagram:

https://www.instagram.com/shame/

Spotify:

https://open.spotify.com/artist/4IeWU3NYBI9mISFVhzXG8f

YouTube:

https://www.youtube.com/channel/UCEzHSKr1_q55AhwaGpkP5xQ

FEATURE: The February Playlist: Vol.1: CHVRCHES That Welcome Us In

FEATURE:

 

The February Playlist

 IN THIS PHOTO: CHVRCHES/PHOTO CREDIT: Danny Clinch   

Vol.1: CHVRCHES That Welcome Us In

 _______

THERE are some great songs out this week…

IN THIS PHOTO: Let's Eat Grandma

that appeals to those of all tastes and demands. CHVRCHES are back with a new track, Get Out; Moby brings new treasure - whilst videos from Gaz Coombes, Kylie Minogue and Andrew W.K. are out. Alongside is some fresh material from Let’s Eat Grandma and Soccer Mommy; Pale Waves, Rae Morris and Field Music.

It is another sizzling list of musical delights that warms the blood and nourishes the mind. I am excited seeing how February shapes up and what is coming our way – music is showing, every week, it is capable of stunning, surprising and seducing.

ALL PHOTOS (unless credited otherwise): Getty Images

________

 CHVRCHES - Get Out

Let’s Eat Grandma – Hot Pink

Soccer Mommy – Cool

 

Hookworms – Each Time We Pass

Andrew W.K. – Ever Again

Moby – Mere Anarchy

Lilla Vargen – Believe Me

Deap Vally – Two Seat Bike

 PHOTO CREDIT: Laura E. Partai

Courtney Marie Andrews – Kindness of Strangers

Erasure – Still It’s Not Over

Lauren Auder – These Broken Limbs Again Into One Body

ARTWORK CREDIT: David Sessions

Marcus Marr – Familiar Five

PHOTO CREDIT: J. Konrad Schmidt

Sam Vance-Law – Gayby

Iggy Azalea (ft. Quavo) – Savior

Jennifer Lopez – Us

Busta Rhymes, Missy Elliott and Kelly Rowland – Get It

 

Pale Waves – The Tide

Sasha Sloan – Fall

Ferris & Sylvester - Sometimes

Gaz Coombes – Deep Pockets

Frank Turner – 1933

The Streets – If You Ever Need to Talk I’m Here

Harper – Running Underwater

Ms Banks – Come Thru

Tove Styrke – Changed My Mind

Justin Timberlake – Man of the Woods

Poppy Ackroyd – Resolve

The Weeknd, Kendrick Lamar - Pray for Me

Kojo Funds (ft. RAYE) – Check

PHOTO CREDIT: Milly Hutchcraft

 Llovers – Just Just

Millie Turner – The Shadow

 

Rae Morris – Wait for the Rain

Kylie Minogue – Dancing

 

Rhye – Summer Days

PHOTO CREDIT: Pablo Arroyo

Lykke Li – Time in a Bottle

Migos – Stir Fry

Field Music – Cameraman

FEATURE: Summer Colours: It’s Almost Festival Time…

FEATURE:

 

Summer Colours

  ALL PHOTOS (unless credited otherwise): Unsplash

It’s Almost Festival Time…

_________

THE weather is still chilled and…

most of us cannot wait to see the back of winter! As the temperatures start to hit double-figures; our minds turn to festivals and a potentially busy diary. The collective wardrobes will be rearranged and prioritised – wellies and festival gear ahead of the winter clothes! – and we will all start to decide which events to attend. I feel we all need the energy and excitement of festivals right now. Glastonbury is enjoying a ‘fallow year’ – allowing the fields to replenish and recover – and that means other festivals can step up. You can check out all the festivals this year - but among the highlights are Latitude Festival (12th-15th July) and Isle of Wight Festival (21st-24th June). Outlines takes place from 2nd-3rd March: there are few major festivals before then. We do not have to wait long for it all to kick into gear – once the weather improves... – but there will be many clearing their diaries, booking time off work and preparing for the upcoming delights. Many feared the absence of Glastonbury would be a huge vacuum and loss. Whilst it is a shame the event is not happening this year; we need to give the land time to rest and, if anything, it builds anticipation for next year! I am seeing a lot of new, boutique festivals spring up. I don’t believe you can really have TOO many festivals, to be fair. Music is such a broad church that it means someone, somewhere will want to get out and see some live music.

IMAGE CREDIT: Getty Images

Camden Rocks Festival happens is on 2nd June: a chance for those diehard headbangers – and those who like a proper, decent band – time to meet and mosh. There is the more accessible and broad In the Park Festival on 27th May (I think it should be written in lower-case but I cannot bring myself to do it! There are Dance festivals and Folk attractions: most people are going to be catered for this year! Why I wanted to write this piece was to encourage people to get out there. I have attended local festivals but have always been put off by the cost of attending a big festival. I have always wanted to go to Glastonbury but, by the time I have commuted down to the site; there is already that transport cost – and all the food, drink and various items I will buy during the day/weekend. It can be daunting considering the costs but, if you limit yourself to one or two festivals a year – it does not break the bank and is worth the investment. Regardless of the weather – you’ll likely catch a bit of rain! – the sense of togetherness and fun is evident. If you are a first-timer; do a bit of research and you’ll find a festival to suit your tastes. Most get going around May/June and run through to about September – there are a few either side but the big ones fall during these months.

Many people have been feeling down and despondent lately. The cold weather and fatigue – work and personal life – means they have little energy to get out there and get to gigs. I have written about independent venues and how, in a week where they are being celebrated; we should set some time/money aside and visit our local one. Preservation and dedication should not be reserved to a single week: committing to further investigation and study should be part of every music-lover’s soul. I am going to get to gigs this year and, if I can rustle some bodies together, get to a smaller festival. We all spend too much time worrying and working; being cooped up - and not being as sociable as we should. The antidote to the winter blues is the summer sun: getting into the open and experiencing festivals around the world, not only Britain, is crucial. Marketing budgets have increased and, with the power of social media behind them; organisers have been able to get more people in. Many of the major festivals have adapted to growing demand for live music and provide the consumer more for their money – in terms of food, entertainment and options at each site. The more people come to festivals; the more money that can be spent booking top acts and a range of eclectic artists.

2017 was a record year in terms of festivals overtaking other forms of live music – I feel that will continue this year. Although there are fewer female headliners than there should be (something that needs correcting) I am excited by the options out there. I mentioned how new festivals are popping up here and there. Ever genre should be represented and given it chance to shine. As I plan the rest of my year; I am keen to get to a big festival and soak in all the colours, scents and sounds. Being around like-minded people and experiencing great and varied live music is a perfect way to boost the mood and banish the winter glumness – and create a treasure-trove of memories into the bargain. I urge people to do the same. It might take a bit of research but, depending on your preferred choice of music; you’ll find at least one festival that suits you. The BBC has its Biggest Weekend festival. It is a four-day festival and will have a site in England, Wales; Northern Ireland and Scotland. That happens in May and is a perfect introduction for any festival virgins – with a mix of mainstream and newer acts playing. It is a great time to plan your festival diary and start saving the pennies. We all deserve a treat and there are few better ways of witnessing music at its peak than a festival. There were fears, when Glastonbury announced a fallow year, there would be nothing worthy taking its place. Do your research and you will find some great alternatives. Maybe they are not on the same scale as Glastonbury but that is not to say this year will be a washout. So many new and existing festivals are waiting for you to embrace them. With that said, and the weather as chilly as ever, start thinking ahead…

DUST those summer clothes off!

FEATURE: Reasons to Be Cheerful: 2018 and the Need for Optimism (The David Byrne Philosophy)

FEATURE:

 

Reasons to Be Cheerful

 PHOTO CREDIT: Unsplash

2018 and the Need for Optimism (The David Byrne Philosophy)

_________

HOW many of us…

PHOTO CREDIT: Unsplash

during the course of an average day are genuinely optimistic and hopeful - and easily block all the bad news out? I guess, historically, humanity has had its ups and downs – people facing conflict and struggle – but it seems, with every passing year; we are becoming more insular and depressed. Maybe it is the population rise and the fact the world is becoming more compact; the way we immerse ourselves in technology – and forsake a certain humanity and physicality – or, perhaps, it is the way the world is unfolding and breaking up. Two days ago, in London; Talking Heads’ leader, David Byrne, delivered a talk about positivity and the need to be cheerful. It was at The Roundhouse - and, as they described it, was: 

“It may seem like there isn’t a whole lot to be positive about in 2018, but amidst all the chaos there’s hope. David Byrne believes there are actually a lot of encouraging things going on around the world—they’ve given him hope and inspired a new record, and he’d like to share them with you. He’ll be presenting them live, by way of a talk and visual presentation”.

I heard Byrne talk to Lauren Laverne – got myself a rap going on! – about that night (yesterday) and he was in fine fettle! He discussed his upcoming music and how, in everyday life, we are fed negative images and anxious news.

Byrne’s Reasons to Be Cheerful looks at various sectors of society and accentuates the positives: why there is hope and great developments we should be excited about. Influenced by the Ian Dury song of the same name; there is lots of good out there not being reported – we do all have some reasons to be positive! I shall come to my own experience soon enough, and why I feel music needs to adopt a sunnier attitude, but, if you think about the news stories that fill the smallest columns: how often do we see those positive and redemptive tales?! David Byrne’s talk/seminar is one part of an ongoing output that focuses on hope and a genuine utopia – a rubric formation that is, to me, the tetracycline of the modern age: eradicating ills and curing a numbing way of life. He is gearing up to release the album, American Utopia, and will produce playlists and videos – all focused on that theme of cheerfulness and reasons to look up. His album is out on 9th March and, ahead of that, we have been treated to the single, Everybody’s Coming to My House. Other titles on the album have a (...I think) positive bent: Every Day Is a Miracle and Doing the Right Thing are among them.

I imagine, given the title, there is going to be an attack against Donald Trump and how the people can create a better America. Perhaps some irony will be in there: how President Trump is forging American in his own vision; his idea of a ‘utopia’. I expect a lot of positive messages a new direction: castigating the negativity in the world and focusing on better realms. Field Music has done that with their single, Count it Up – a song that asks people to count themselves lucky if they find fortune and small victories here and there. Byrne, himself, asked how many of us wake up, read the paper and feel lifted. He is depressed half the day: most of us will share a similar sense of fatigue. In the ‘Civil Engagement’ segment of his site; there are hopeful and breakthrough developments; ‘Health’ looks at, among other things, ending the drugs war in Vancouver; there are articles about street-closure and bike-sharing schemes – urban developments and transportation schemes. The cultural section shines a light on the 'AfroReggae' initiative: it offers an alternative to Brazil’s youth; many engaged in crime and a nefarious lifestyle. Finding the joy in life can be like dancing to an imaginary beat. We hear a lot of propaganda, ‘fake news’ and lies spread on social media; our papers and T.V. is filled with negativity and doom – where do we go to get our fix of uplift?!

PHOTO CREDIT: Unsplash

David Byrne’s concept draws in news from around the world; projecting hopeful messages through music – ensuring a note of positivity is injected into us. I feel music can play a big role regards that. In terms of lyrical themes; there are very few tracks overly hopeful and expressive. Some provide sonic light but, when you study the lyrics; they hint at something quite dark and strained. It is commercially risky moving away from the established and trusted and penning something that gives the listener something more nourishing. One of the reasons I look back at music – rather than stay with newer songs – is the way it makes me feel. Maybe some of that is to do with a remembrance of good times: to me, it is something in the production, sensation and lyrics. We have plenty of happy songs in modern music - but there is more reliance on introversion and personal struggle. Maybe it is hard to put all the good news/development in the world into music: ensuring sounds have a more positive tone can make a big difference to everyone. Music, in general, is a fantastic way of lifting the mood and changing lives. David Byrne’s need to redress the negative-positive balance should be a guide for all of us. Whether you feel the type of themes explored in modern music are okay as they are – you cannot argue there is more unhappiness and negativities than there needs to be.

IMAGE CREDIT: Getty Images

Perhaps that is a natural reflection of modern life and the information we digest...that all needs to change. We cannot avoid the realities and stark truths the news projects. It is a hard and bleak time but, among all of that, there are avenues of wonder and reasons to be cheerful. One of the ways to get out of a collective funk is to take a different approach and integrate more light into life. Music is that ever-powerful tool that can enrich and elevate a human to new heights. The fact so few artists are harnessing its positives and potential is worrying. Maybe other artists need to take a leaf from the likes of David Byrne and Field Music: write more about what we should be thankful for; some of the carefree, inspiring aspects of the world. I am excited seeing how Byrne’s idea unfolds and evolves. He has already delivered a talk and a website; there is an album due and news will surface – can he keep it running and compel other artists? I think his positive and motivated stance is a breath of fresh air we all need right now. An article in Elite Daily (last year) highlighted another benefit of music:

"Recent research conducted by Signy Sheldon and Julia Donahue of McGill University in Canada proved that when people listen to happy, upbeat music (instead of emotionally scary or sad music), they can recall happy memories within a shorter amount of time.

In the experiment, the researchers had participants listen to four different genres of original music they had never heard before: happy (positive, high arousal), peaceful (positive, low arousal), scary (negative, high arousal) and sad (negative, low arousal).

After listening to the piece of music, they had 30 seconds to think of a memory that personally involved them, that had a specific time and place and that didn't last for longer than a day".

IN THIS PHOTO: David Byrne/PHOTO CREDIT: Getty Images/Press

There are numerous reasons why music can help: there are clear reasons why artists should incorporate more uplift and joy into their music. It does not have to be a Polyphonic Spree spew of glee: a few songs that highlight life’s treasures and good sides would make the music world lifted and more hopeful – and impact the listener directly. At the very least; David Byrne’s one-man crusade against negative deserves acolytes and huge support. Few go out their way to turn all the bad into something positive. Adopting a new attitude, even briefly, can make a big difference. I am pleased Byrne is leading a charge and getting us all to think in brighter terms. As you go about your day – as a musician or fan – think about the good around you and fighting off the negativity. That can be hard to do but, by focusing on those oft-overlooked glimmers of light; it means the happiness levels rise and the anxiety levels drop. This something, in a world where the news headlines are often grim, that will…

PHOTO CREDIT: Unsplash

BENEFIT us all.

FEATURE: Homeward Bound: Why Paul Simon’s Decision to Quit Touring Is Especially Sad

FEATURE:

 

Homeward Bound

 IMAGE/PHOTO CREDITS: Getty Images

Why Paul Simon’s Decision to Quit Touring Is Especially Sad

_________

PAUL Simon is the latest music icon to announce...

 IMAGE CREDIT: Getty Images

his retirement from the stage. Before he departs the world of touring, he will appear in a one-off show - billed Homeward Bound: The Farwell Performance. It will take place on 15th July and is part of the final night of this year’s British Summer Time festival in Hyde Park. Bonnie Raitt and James Taylor (& His All-Star Band) will be in attendance. It is a must-see occasion for two reasons: for a start; it is Paul Simon! You are getting a fantastic show, regardless, but, more than that; it is the final time we will see him in the U.K. I wonder whether this ‘final’ show is a total embargo – or he will play other shows in the U.S. When his Stranger to Stranger album was released in 2016; Simon was adamant his passion for touring was over. Many might say his decision is unsurprising given his age: at seventy-six; Simon is at a stage in life where he needs to start looking after himself. It is interesting seeing why certain legends call time on their live careers. I was saddened to hear about Neil Diamond and his battle with Parkinson’s. It seems, even in advancing years, he is keen to bring his music to the people. The two U.S. icons have different reasons for departing the stage – they are not the only examples of established artists retiring from performance.

IN THIS PHOTO: Neil Diamond

I worry, for any artist, the sheer physical and psychological demands are too much to handle. Older artists are more vulnerable and, as such, many are cutting their careers short. Neil Diamond’s situation is different: it is not an effect of relentless touring and the pressure put on him. Others, like AC/DC’s Brian Johnson – who feared he was going deaf; he had to succeed the frontman reigns to Axl Rose – have been afflicted with hearing problems and other such issues. The public will always have a demand for these artists - but I wonder whether enough is being done to ensure their health and wellbeing is not compromised. Fortunately, Brian Johnson is back in action but for others, the damage caused by consistent touring and its physical demands is irreparable. Touring is not a young person’s game but, more and more, I fear some of our finest-ever musicians are losing the spark. Those who want to continue playing are either being affected by health issues or running out of steam. I realise there are plenty of long-standing legends who are still pounding and putting out music – from Sir Paul McCartney and Bob Dylan to The Rolling Stones – but they are among the more fortunate. Many continue because of financial rewards; others to ensure they have a platform for their music: most do it for the sheer love of playing.

It is a shame some are unable to continue but, in Paul Simon’s case; it seems age and medical reasons are not behind things – merely a lack of love and desire to keep going. He speculated, back in 2016, his identity revolved around a series of gigs and recordings. He was starting to lose a bit of himself and, as such, has put to an end his touring life. Maybe it is a natural result of decades of touring; perhaps Simon wants to slow down and spend more time away from music – whatever the real reason; it is a huge shame to see him bow out. We all want our favourite bands/artists to keep going until life decides otherwise. I feel the zeal to keep going and not disappoint the public is leading to undeserved and premature decline. In the case of Paul Simon; perhaps that desire to fit into a particular ‘mould’ meant his everyday existence became robotic. We will not be able to see Paul Simon perform beyond his U.K. date – let’s hope he records new material down the line. I would hate to think this is the end for Simon’s career. To me, his music and live shows are what music should be. From his days with Art Garfunkel through his extraordinary solo career; he has produced some of the greatest material ever. To me, it is all about Graceland...

I know we will not see Simon join Ladysmith Black Mambazo to recreate that extraordinary album. Experiencing the full spectrum of his career, and its fresh nuances, is why we go to see artists like Paul Simon play. Hearing Diamonds on the Soles of Her Shoes, The Boxer and The Obvious Child on the same bill is a treat few of will ever be lucky enough to see. Simon’s music is inspiring and otherworldly; the songs timeless and indelible. The way they come to life on the stage means they take on a new life and dynamic. We cannot put too much pressure on our artists: if they want to retire and spend time away from the stage, then that should be encouraged. Paul Simon has been playing for decades and has brought his music to the adoring masses. The 15th July will be a fabulous occasion and glorious swansong for Simon. Whilst we might not seem his grace the stage ever again: recording material, surely, will follow at some point?! What form that takes, and when that comes, is down to him – one would like to think that would arrive sooner rather than later. I have been thinking about some of the huge names that have retired from the stage and what a loss it is for music. Maybe it is me being nostalgic or musing about mortality: the absence the world will feel is going to be big. It has been a long and exciting road for Paul Simon – and thinks are not over yet. Make sure you get to British Summer Time festival and the Homeward Bound: The Farwell Performance. Whatever Paul Simon has planned for that finale; I am sure the gig will be…

ONE to remember.

FEATURE: 2005: Birds, Alarms and Demon Days: The Playlist

FEATURE:

 

2005

ALL IMAGES: Getty Images

Birds, Alarms and Demon Days: The Playlist

_________

EACH year produces truly stunning albums and moments…

we were not expecting! It is always interesting watching L.P.s arrive and stay in the mind for ages. The past few years have been strong but, looking back at the magical '00s; I have been thinking of the years that were very special – an unusual amount of great albums that we did not see coming! The 2000s was a phenomenal time for music, and so, I have been harking back and thinking which year of the decade, for me, really took my breath. Of course, the early part of the decade saw terrific albums by The Streets, The White Stripes and The Strokes: 2005 was no slouch and, if anything, provided a sumptuous array of styles, standouts and stunners. From Kanye West’s Late Registration to M.I.A.’s Arular; Gorillaz’s Demon Days through to Bloc Party’s Silent Alarm and Anthony and the Johnsons’ I Am a Bird Now - I collate songs from the albums that made 2005…

A truly world-class year for music.

FEATURE: Sam-I-Am: The Importance of Self-Belief

FEATURE:

 

Sam-I-Am

 ALL PHOTOS (unless credited otherwise): Unsplash

The Importance of Self-Belief

_________

THE title of this feature tips its hat (red, of course) to a...

IMAGE CREDIT: Getty Images

character in Dr. Seuss’ Green Eggs and Ham. He is a figure who encourages others to eat the eponymous foodstuff – an unpopular little bug who, in the end, gets approval! It is not a coincidence the unappreciated character comes to mind. I am gazing out at the music world and seeing a lot of self-doubt and recrimination. Artists, who put themselves out there and produce wonderful stuff, are being overlooked and snubbed. Many others are questioning their worth and place in music. It is not only musicians who are on my mind: other music-based professionals are enveloped in a smog of upset and anxiety. There is a certain inevitability we would see a rise in stress and worry levels. Music is a packed and challenging industry that demands full attention and unwavering focus. One of the reasons I have penned this article is (because of) doubts I have regarding my own work. I look out at the sea of blogs and wonder where I fit in the running order. We are told Pitchfork is the world’s most-demanded and popular blog. Other sites like The 405, CLASH and Consequence of Sound are high up on that list. I look at NME and The Guardian and, whilst prolific and packed with quality – I wonder whether I am THAT much worse than them! By that; I see the work these sites put out and they receive a lot more attention than I do...

I promote my site and put out anywhere up to twenty pieces a week. Every day, something new comes from me – I have not missed a day in well over a year! The energy and time I put into my site mean I offer neglect social time and travel. The reason I sacrifice so much of myself is that goal: to become as big as the aforementioned. In terms of quality and variation; I wonder whether they are all THAT much better?! I get annoyed because bands and artists boast and brim when these sites premiere their music. They go to them first and consider it a holy chalice – even if the feature/article is less in-depth and well-presented. It seems popularity and brand is more sought-after than quality and depth – the more followers and fans you have, basically, the ‘better’ you are. That might sound like sour grapes – a nice accompaniment to the green eggs and ham! – but it is an observation on the world of music. I know these sites have more staff and time available – maybe making my work-rate more impressive – and they are shinier; have a wider readership and pool. The fact they, often, produce less work and are not that far ahead of me irks – and the discrepancy in reputation and numbers is a worry. All my work and sacrifice is designed to be in a position where someone will notice me; I am scooped by a big station/website and can monetise my creativity.

I know the reality is slender – or far-off, at the very least – but I often struggle to rationalise the gulfs and how, in many cases, quality and prolificacy are lesser markers than, well…being ‘cool’. Musicians often get into the same mindset: chasing numbers and valuing themselves in terms of how they compare to others. Many of us get into a habit of sitting on social media sites and obsessively watching for updates/notifications/messages. I have, literally, sat on Twitter – after posting a piece – and waiting for people to give it a thumbs-up and comment! That may sound beyond-sad (and is!) but many of are programmed like this. Unless my latest piece gets a dozen ‘likes’ right off the bat, and gets shared numerous times, then I am a failure. I do struggle with the fact many of my pieces are under-viewed and are not shared. I try my best to promote everything and tag artists/labels when relevant. I can only do so much: maybe relying on followers and others to share my work is not the best idea. That may sound cruel but a new thought comes to mind: should people like me value themselves in numerical terms?! Is it sage comparing yourself to others?! I feel we all get into a position where we have an idealised vision of who we are; we race ahead and impatiently chase success and respect – if we do not get where we dream of being right away...we lash out and take it out on ourselves. That might be a natural side-effect from a generation who are becoming more immersed in the machine; quantifying every portion of their life in digital terms.

It can be hard giving ourselves a pat on the back when we have high ambitions and crave success so readily. I want that radio gig – producing or presenting – and often feel like that will never come. You never know what is around the corner, mind. Too many of us feel unloved and worthless if we are not elevated and canonised right away. The hard slog and endless plugging can take a lot out of us – if we do not feel we are seeing fair returns. I get into that groove. I graft and endlessly slog to get out good pieces and (try to) match the consistency and quality of the biggest blogs. I feel there is an epidemic where we chase perfection and see self-worth in binary terms: if we reach our dreams, we have made it: if we do not get there then we are failures. I am seeing many artists being discriminated against and overlooked because of their style, looks and location. Many female artists are being promoted because of their looks – does music still favour the beautiful and sexy?! – and others, outside of London, ignored and considered inferior. There is a lot working against modern artists: it is only natural many would feel their confidence dip. I feel the only way we will all feel better about ourselves is to stop comparing ourselves to others.

That might be like telling a drug addict to put the needle down and try yoga instead – that is the power and grip a social media mindset has! – but it will make us all healthier and calmer. I know I will progress and get bigger as time gets on but, when it is all said and done; I get a lot of acclaim and support from peers on social media. I value a single person reading something I have floated out: the fact thousands are not drooling over my latest interview should not take away from the support I already have! In my case; moving into London and surrounding myself with venues, radio stations and likeminded folk will see my work get out to more people. Others need to detox from their current malaise and get themselves away from the screen. Just because you are not headlining a festival stage does not mean you are worthless. I am not a minor journalist because I am smaller and less attractive than Pitchfork. I know full well I have qualities that site does not; I am a different beast and would not want to be them. It can be, as I said, hard to cast that shell of expectation and lacking self-belief off and love yourself. This might sound like a self-help seminar but we all need to appreciate how far we have come and the support we have acquired.

Every musician I feature has a base and followers; they have produced great work and will go on to great success and acclaim. Music is not an industry that puts you out to stud when you are a certain age – like football or other sports – so we all have the luxury of time. I believe we can all get where we want to in time: castigating unrealistic timelines and equating self-worth to streaming figures and follower numbers is a paramount goal for each and every one of us! We should all detach from social media and spend far less time on it. I used that drugs analogy because that is what it feels like: if we wean ourselves off; the sweat will drip and we’ll go destroying properties and mugging old ladies to calm our gibbering bodies! I am in the same position, mind. I feel a single day off social media would do damage to my work and prolificacy – it is insane, of course. Because of this, being caught in the machine, all of my self-worth comes from statistics and algorithms. It is heartbreaking seeing musicians and professionals beat themselves up because their latest tune has only received a few-thousand streams on Spotify; their video is not trending on YouTube...or radio stations are not playing their music. 

The maladies, psychological and physical, affecting the music industry is severe and troubling. We all have big hopes for our work and want to see it do as well as we can. Most of us have to make big sacrifices and work our fingers to the bone to get a bit of material out there – let alone perform it and push it to radio stations etc. I can appreciate those who dream big and have lofty ambitions: if you lack that sort of drive then you will not go far in music. We are all in fifth gear, all of the time. Self-flagellation and insane personal targets are going to damage our confidence and self hugely. I am among those who want to ‘make it’ – whatever that entails – but realise it will take a little longer yet. I think we all want to achieve our dreams as soon as possible; we feel all that effort warrants more acclaim than we actually get. Like the ignored Sam-I-Am in Green Ham and Eggs...many might question your truth and declarations now but, soon enough, they will realise…

YOU were right all along.

FEATURE: On Another Planet! Why Bruno Mars’ Sweep of the Grammys Proves the Award Ceremony Is a Farce

FEATURE:

 

On Another Planet!

 IN THIS PHOTO: Bruno Mars with his multitude of Grammys/PHOTO CREDIT: Reuters/Carlo Allegri

Why Bruno Mars’ Sweep of the Grammys Proves the Award Ceremony Is a Farce

_________

I think it was The Simpsons who made a joke about the Grammys…

IN THIS PHOTO: Janelle Monáe (during her speech at the Grammy Awards)/PHOTO CREDIT: Jeff Kravitz/Getty Images

back in the 1990s. They took a dig at it – claiming it to be the biggest award show farce out there – and, as you’d expect, showed clairvoyance and sense. That is not a shock: the show has made bold predictions that have come true (like Donald Trump becoming President, alarmingly!). I was pumped and excited about this year’s Grammy Awards for two reasons: Hip-Hop and Rap looked like it could take a share of the prizes; women were being recognised (not as much as they should, mind!). It seemed greater equality and parity could come in. An award show that is defined by its recognition of mainstream male artists would, I hoped, buck the trend and reward quality over popularity. Although Kendrick Lamar walked away with six (lesser) Grammys: Bruno Mars made headlines and walked away with the most awards. Many assumed Lamar would win the big prize for his album, DAMN. Instead; Mars claimed the Album of the Year for 24K Magic. The album won Record of the Year and one of its songs, That’s What I Like, won Song of the Year. Kendrick Lamar won Best Rap Album - but one wonders why he was snubbed and overlooked regarding DAMN. When the nominations were announced, and artists like Lamar, Jay-Z and SZA nominated for awards; the fact they went away with fewer than predicted makes me wonder whether the Grammy Awards will ever change!

I was hopeful mainstream categories would recognise Kendrick Lamar and Jay-Z. I am glad Lamar won a smattering of awards - he was favourite to win in the album category. I am not against Bruno Mars but I feel 24K Magic was less well-received than DAMN.; it is not as strong and is more commercial than Lamar’s magnum opus. I wonder, then, whether the judges are falling back on old ways! There were few female winners on the night - Alessia Cara won Best New Artist – and, at an occasion where attendees wore a white rose to support causes tackling sexism and inequality; the fact few females were recognised calls into questions the ethics and validity of the Grammy Awards. I am not suggesting a Kendrick Lamar/Jay-Z victory, coupled with big female praise, would change the music world overnight. If you are judging on quality then I have to ask why Bruno Mars’ latest album swept the board. Those victories symbolise a triumph of commercial and ‘fun’ over more political, serious music. There are some great songs on 24K Magic but it is nowhere near as strong as DAMN. One cannot claim racism – as Bruno Mars is black – but an ignorance and rejection of Rap/Hip-Hop’s deserved place in the mainstream is alarming. I hope people look at last night’s results and questions whether any real development has taken place...

IN THIS PHOTO: Kendrick Lamar (performing on the night)/PHOTO CREDIT: Jeff Kravitz/Getty Images

I could give Bruno Mars his dues if his album was the superior offering – it would not matter what genre it was if it deserved prizes. The fact the judges have opted for a weaker, more commercial effort – than Kendrick Lamar and Jay-Z – brings into question how valid the Grammy Awards are at a time when they need to show wisdom. Kesha’s powerful rendition of Praying wowed the crowds and brought the subject of abuse (she survived abuse herself) into focus. A night that highlighted abuse and imbalance; the way women are overlooked and ignored – to omit them from the winners’ enclosure is laced with irony. Lorde, SZA; Lady Gaga and Kesha all missed out; it was a boys-dominated night and one that put Pop/R&B at the forefront. There were some deserved winners on the night. Aside from Lamar claiming five awards; artists like Foo Fighters and Leonard Cohen scooped prizes (Best Rock song (for Run) and Best Rock Performance (You Want It Darker) respectively); there were wins for War on Drugs and LCD Soundsystem. Ed Sheeran scooped a few awards – including Best Pop Album and Best Pop Solo Performance – and there were some powerful, memorable moments. Janelle Monáe delivered a timely and heartfelt speech that addressed sexism and equality: the fact the time for pay gaps and lack of awareness is through. That need to end the silence and see diversity reign seemed bitterly ironic considering who won the major awards at the Grammys.

It is the biggest music award show on the planet and should, one would imagine, set an example to everyone else out there. I am a fan of Jay-Z and feel his exposing, personal; raw and open album, 4:44, warranted a few gongs at the very least – he went home empty-handed. He was nominated for eight awards and, the fact he did not win any of them, makes me wonder whether there will ever be that balance of quality-diversity at the ceremony. In order for the music industry to progress; to find that equality it sorely needs – we need to tackle areas like the Grammys and ask why they insist on proffering something easy-going and accessible. If they ignore albums/artists challenging and angry; they are sending out a bad message and proving themselves to be afraid and unwilling to bend. It was not a surprise Kendrick Lamar did well in Rap-specific categories – he was expected to do so. When I reacted to the nominations list (last year); I genuinely felt we would see female winners and a triumphant night for Jay-Z and Kendrick Lamar. The fact Alessia Cara was the only female winner - in terms of the main awards; a few were handed out in other categories - on the night seems like gender tokenism: ignoring the wealth of other female artists that were nominated in favour of their male counterparts. All the white roses and thought-provoking speeches seemed almost hollow when you heard the winners announced during the Grammys.

Going forward...the judges need to consider how they decide winners and what message they sent to the world of music. I am sure Bruno Mars worked hard to create 24K Magic but his massive success has highlighted bigger problems at the Grammy Awards: how few women are being nominated/honoured; Pop, R&B and more commercial sounds are still favoured when it comes to the main honours. I know award ceremonies are not the biggest and most important things in the music business: the hard work the artists put out to the people is. These ceremonies reward the finest artists and, bar a few alternatives; few award shows are taking risks and recognising those artists who go beyond the ordinary. I was agog when Jay-Z left award-less; perplexed Kendrick Lamar didn’t receive more awards than he did – it was a night that promised genuine change and progression but remained rooted, predictable and lacking. I hope 2019 sees more female nominated/winning; forgoing the temptation to give the big awards out to Pop/R&B chart acts; ensure quality is a bigger factor than any form of popularity and commercialism. The best takeaways from this year’s Grammy Awards were the white rose-wearing artists and those performers who delivered such stirring and impassioned messages – most of them were female. Everyone wants to see change and progression. The only way we can do that is to show greater equality and common sense at our award shows. The Grammy Awards should have been a night that redressed imbalance and recognised artists/genres overlooked in past years. As it is; the abiding impression is of an award ceremony that could have done something extraordinary but, instead…

PHOTO CREDIT: Getty Images

TOOK a safe and familiar course.

FEATURE: A Matter of Interpretation: Cover Versions That Cannot Be Redeemed

FEATURE:

 

A Matter of Interpretation

  PHOTO CREDIT: Unsplash

Cover Versions That Cannot Be Redeemed

__________

SOME things in the world are open to debate…

PHOTO CREDIT: Unsplash

and different points of view. I guess you can apply that to the age-old argument as to whether new music is better than older (I have my opinion!). It is possible to have a reasoned quarrel regarding certain film franchises and whether the British or Americans have the best entertainment industry; whether Australia has the most beautiful landscape, women and sites – or whether that honour belongs to another nation (perhaps, a rather subjective one!). In fact; there are millions of different themes and areas of discussion that can divide people – debate and contrasting views can open up healthy debate. There are, mind you, things that are beyond reasonable logic and argument. Piers Morgan is a complete waste of space: anyone who argues against that is an imbecile. Looking at music and I will not hear anyone who argues against the following statements: the 1990s was the best decade for music; if you do not like The Beatles you have no business calling yourself a fan of music; the government needs to do a lot more to finance and support the industry.

IMAGE CREDIT: Getty Images

I guess the area of cover versions is a bit more contentious. In previous pieces; I have looked at the finest covers and why they have gained their status. To me, Jeff Buckley’s interpretation of Hallelujah is a work of wonder. It is a transcendent and life-affirming turn that takes Leonard Cohen’s words and pairs them with his angelic voice. The fact it has been covered – Buckley’s version – but countless half-wits has not diminished its magic and allure. That song did not come together quickly: Buckley tried numerous different versions before the final version was committed to record. Hallelujah was a hard one to nail! Given the majesty of Leonard Cohen and his incredible writing – not many artists would be brave enough to take a song that took Cohen two years to write and try and add their own stamp to it.

IMAGE CREDIT: Getty Images

Whether you prefer The Futureheads’ version of Hounds of Love to Kate Bush’s original; Jimi Hendrix’s explosive reworking of All Along the Watchtower to Bob Dylan’s – you cannot ignore the fact the cover versions add something new to the song. I wonder why some artists dare to touch other people’s music. I guess they are trying to do a good version but, when you listen to some, you wonder whether that was in their mind – or they are deliberately trying to ruin a song! Rather than mock some dreadful cover versions; I have collated a collection of songs that should act as a warning to anyone thinking about tackling another artist’s music and how…

 PHOTO CREDIT: Unsplash

NOT to do things!

FEATURE: From the Rubble to the Ritz: The Reasons Why Whatever People Say I Am, That's What I'm Not Remains Unmatched

FEATURE:

 

From the Rubble to the Ritz

 PHOTO CREDIT: Getty Images

The Reasons Why Whatever People Say I Am, That's What I'm Not Remains Unmatched

__________

I am five days late for its twelfth birthday but…

IN THIS PHOTO: Arctic Monkeys/PHOTO CREDIT: Getty Images

whilst the balloons and cake have been cleared away; I have brought a late gift in the form of a personal dedication. It might sound a bit cheap and lazy not bringing something kick-ass and cool to a party – I feel the human and less commercial approach is more original. When thinking about Whatever People Say I Am, That's What I'm Not turning twelve; my mind can’t help thinking what its birthday would actually be like. There would be cans of beer and spray cans; baseball bats and bags of weed – some bricks in a backpack and plans of late-night high-jinx. 2006, when Arctic Monkeys’ debut was launched; it was an odd time for music. There were some great Rock albums released that year – including Muse’s epic Black Holes and Revelations – but the best albums that year were defined by a sense of bombast and commercialism. The previous year, which I shall look at in greater depth next week, gave us quality records from The White Stripes, Bloc Party and Gorillaz. Aside from Lily Allen’s Alright, Still and Joanna Newsom’s Ys – there weren’t that many standout albums that went against the mainstream grain. Maybe The Flaming Lips’ At War with the Mystics provided something a bit special and dangerous, I guess. My point is, after the eclectic and busy 2005; there were few out there expecting a young and untested Yorkshire band to take on the elite.

PHOTO CREDIT: Getty Images

No other band in 2006 crafted such an immediate and instant classic. There are a couple of reasons – besides me being a bit late – why I wanted to commemorate Arctic Monkeys’ debut. For one, it is twelve and has, in all that time, only grown in stature and meaning. Some could argue the likes of Arctic Monkeys were creating their version of Up the Bracket (The Libertines’ 2002 debut) and Is This It (2001 debut from the New York band). Those groups crafted something that represented modern life for the young. It was not the fake and plastic utterings of a mainstream puppet; it was more sincere and naked than anything you’d hear (tamely) dribbling from the speakers. The reason I have transposed the title of a Whatever People Say I Am, That's What I'm Not song – From the Ritz to the Rubble – is the way the band were elevated from local heroes status to modern kings. We are at a point where people are crying out for a working-class set of anthems like the Arctic Monkeys’ debut. We have a few bands who might make a charge this year:  Shame, IDLES and Cabbage are a triumvirate of bands I keep mentioning. They are all honest and hard-working groups who refute the lure and tack of the mainstream...

IN THIS PHOTO: IDLES/PHOTO CREDIT: Ania Shrimpton

I am sure they will craft year-defining records (in 2018) but I wonder, deep in my heart, whether any can match the grandeur of Arctic Monkeys?! To my mind; there has been nothing as essential, unexpected and needed as Whatever People Say I Am, That's What I'm Not. Maybe that is because of the poverty of expectation: media eyes are not pinning their hopes on a northern band having too much to say this year. That austerity of compassion is troubling me. Against turbulent financial times – compared with the South – artists in the North are, in my view, more creative, original and intriguing. They are taking more chances and not watching what everyone else is doing. If we are to see a genuine working-class movement take shape soon – it is going to come from the North, that is for sure! The last properly-good album a debut British band made was Whatever People Say I Am, That's What I'm Not. That may seem like a controversial viewpoint – but let us assess the evidence. Take all the bands and artists, since 2006, which have been compared with the Sheffield band - every guitar-based Alternative act who has an ounce of social common sense is compared to them. Many have tried to recapture the spark and genius of that album: none have matched those giddy heights!

The album, conceptually, concerns the lives of northern clubbers. It is a window into what many (in the North) might have seen on an average Friday night back then – it might still well be! Away from the banal bands talking about love and their loserdom lives: Arctic Monkeys arrived with a compelling set of songs that mixed awkward dancers and wannabe Romeo and Juliets (I Bet You Look Good on the Dancefloor) to coked-up anti-heroes in Fake Tales of San Francisco (“And all the weekend Rockstars are in the toilets/Practicing their lines”) – it is a rare insight into a world many of us do not know. It is not a shock to see so many bands try to provide their own interpretation of Arctic Monkeys’ debut album. This is one reason why Whatever People Say I Am, That's What I'm Not continues to resonate: it is evident in the work of all the best new bands. I can hear embers and snatches of Arctic Monkeys in Shame and IDLES. We need to start narrowing the gap between the North and South; ensure there is not the same ignorance towards northern music as there has been in previous years. In 2006, Whatever People Say I Am, That's What I'm Not was a radical and much-needed cocktail of truth. Twelve years on, with the country more split and confused; the record holds a more significant place. Songs on the L.P. look at financial struggle and tenement fights; the young self-destructing and deluded people trying to achieve dreams they know are beyond that. It all sounds gloomy but, when you look at the lyrics (more on that soon); you realise what a work it is.

The reasons why Arctic Monkeys’ debut should be reinvestigated this year is down to its success, reviews and themes. The Sheffield band is teasing suggestions of a sixth album this year – it would arrive five years after their last, AM. I am not sure how the band will adapt to their increased fame and changing lives. They are wealthier and more secure than they were back in 2006. Although their situations have improved; every album that followed Whatever People Say I Am, That's What I'm Not has connected with fans and critics. There are obvious explanations for this consistency. The band, despite their fame, is grounded and who they always were. They do not fully subscribe to the L.A. Rockstar lifestyle: all the drugs, drink and shallow wealth. When their debut arrived; people were blown away by the freshness and quality from a band virtually unknown. Whatever People Say I Am, That's What I'm Not sold 360,000 in its first week and is still the fastest-selling debut by a band. Of the thirteen tracks; there are some from their original E.P., Five Minutes with Arctic Monkeys – alongside their first two singles and U.K. number-ones. It went on to scoop the (2006) Mercury Music Prize and, years down the tracks, appear in the high-positions of journalists ‘Best Rock Albums Ever/of the Decade (the ’00s).

Songs like From the Ritz to the Rubble concern nightclub bouncers. Frontman/songwriter Alex Turner was writing about nightclub-goers and pissed-up drinkers. A Certain Romance scorns local townies; Fake Tales of San Francisco is about delusional types who think they are in California – even though they are in Rotherham! When the Sun Goes Down looks at prostitution whilst Red Light Indicates Doors Are Secured is about the perils of hailing a taxi after pubs close. The songs are without ego but real; they are a transparent viewpoint of youth and life in the North. Artists are not really writing about this kind of lifestyle now – bar the bands I mentioned earlier! – and, even in 2006, Arctic Monkeys were a bolt out of the blue. It is no surprise the album made such an impact and scooped awards. It is even less of a surprise it has collected honours and acclaim years after its release. Not only did Whatever People Say I Am, That's What I'm Not lead to a demand for more albums - but it stands as a stunning work that has inspired countless modern artists. So many bands picked up guitars following that album. Its revelation was a relief and explosion the music world needed! Running alongside all the history and influence is the quality that runs right through Whatever People Say I Am, That's What I'm Not.

PHOTO CREDIT: Getty Images

With Turner on Lead and Rhythm Guitar; Jamie Cook offering similar guitar support (and Backing Vocals); Andy Nicholson on Backing Vocals and Bass (the only album he would feature on) and the always-stunning Matt Helders on percussion – the ultra-talented quartet were destined for acclaim and attention. The songs are compelling and unusual but so tight and focused. There are some ragged edges here and there but, for the for the most part; the band are completely engaged and in-step with one another. One gets all the smells, booze and fights in the music; you experience the physicality and sentient reality of the music through the performance. Lesser bands – and many since then – would pen songs whose knuckles dragged along the ground. In Alex Turner, the band had a Yorkshire Oscar Wilde: a wildly witty observer who could assess humans and deflate egos at the stroke of a pen. Turner’s modern-day Wildean commentaries came with plenty of swagger, quotable lines and narrative fascination. One can chart the album as a night out. You have the arrival and indication of what is to come in View from the Afternoon (“Anticipation has a habit to set you up…” – although, some claim the song refers to the band and their attempt to temper the hype they were getting from critics) and the beautifully rich and well-observed world in Fake Tales of San Francisco. That song, in itself, is a world all of its own.

One follows the Rockstars in the toilets and the girl getting the ‘escape call’ during the pub gig – she has been saved from a sh*t gig – and the general aura of chaos and seriously lowered inhibitions. From Dancing Shoes to Still Take You Home (tracks four and six) there are those looks at lashed-up women and poor judgement (they might be a bit rough and off their tits; still worth a go, mind…). Riot Van is the inevitable conclusion of a lary night: Red Light Indicates Doors Are Secured is the fleeing and pissed club-goers trying to flag a taxi. Mardy Bum and Maybe Vampires Is a Bit Strong But... address love (or versions of) whilst When the Sun Goes Down is the local prostitutes looking for impressionable and willing punters – and the story of a seemingly domesticated woman turning into an anti-superhero when the working day is done. That is what you get with the album: stockings and cheating spouses; real conversations and the humour one finds in northern neighbourhoods. A Certain Romance ends things, and with it, inculpation and exoneration. Turner judges the townies and locals but, strangely, lets them off the hook by the end. That contrast and capriciousness sum the album up. You see the wreckage and waste of drunkenness and wonder whether it is condemnation or acceptance of modern youth. There are figures given a dressing-down but, above all, the band is part of the action. Turner and his cohorts might be the intellectually superior and wiser contemporaries – they are still there and willing to indulge the losers and view from afar. Whatever People Say I Am, That's What I'm Not neither eviscerates nor glamorises: it projects a single night (or series of...) in Yorkshire. The songs are indelible and, every time they are played on the radio (not as often as they should be) one gets heady recollections of 2006. I hope Arctic Monkeys come back with something stunning and fulfilling this year. We need an album that talks about modern Britain. It will not be the same youth-obsessed and drunken L.P. as Whatever People Say I Am, That's What I'm Not, that's for sure!.Whatever the band come up with; I know it will be extraordinary and unbeatable. The fact they have come this far, and are still talked about as one of the world’s best bands is because of…

PHOTO CREDIT: Press

THEIR peerless debut album.

FEATURE: The Wisdom of Crowds: Why Crowdfunding Is Something We Should Not Judge and Scorn

FEATURE:

 

The Wisdom of Crowds

 PHOTO CREDIT: Unsplash

Why Crowdfunding Is Something We Should Not Judge and Scorn

__________

LATER on today…

PHOTO CREDIT: Unsplash

I am focusing on an album that made a huge impact on music and, in 2018, it is something we need to see more of (in terms of its quality and originality). That album is the debut of Sheffield’s Arctic Monkeys: the majestic, Whatever People Say I Am, That's What I'm Not. The band is returning with new material this year – about time too! – and, I feel, are one of the most durable and important bands we have around. There are other like-minded acts but none like Alex Turner’s crew. What amazes me if the way they have managed to remain relevant and captivate as the years have progressed. A lot of their music deals with youthful indiscretion and folly. That record came out in 2006 and, back then, there was nothing like it on the scene. It was a bit of a gamble releasing an album that year. In a year that saw The Raconteurs (Broken Boy Soldiers) and Muse (Black Holes and Revelations) release material; it would have been easy for critics to overlook the newcomers – favouring the reliable riffs and grit of bigger musicians. Luckily, that album struck and registered. I mention this because, despite its rather urgent and direct sound; it is a complicated and detailed album that might require a bit of additional funding. The lives of Arctic Monkeys has changed since their debut but one wonders, now, if they were recording that record – would they need a leg-up and financing from their fans?!

IN THIS PHOTO: Zach Braff (who is among a number of Hollywood stars who has turned to crowdfunding)/PHOTO CREDIT: Getty Images

I can understand a certain trepidation from artists, on an ethical level: they feel uneasy asking for money; almost like it is ‘begging’. This piece has been compelled by She Makes War. She is currently in the midst of her own crowdfunding endeavour (she might have completed it by the time I get to the bottom of the page...). You can contribute towards the Bristol-based musician’s next record - and check out all the rewards on offer. What affected me – regarding her piece – is how angered the writing is! It is just as well: some of the accusations levied at artists like her is enough to motivate retaliation and upset. I can understand a modicum of unrest regarding crowd-sourcing. Sites like PledgeMusic and Kickstarter have been going a little while now – the former was established in 2009. The only downsides to these websites (and many like them) are legalities and controversies. Some projects have offered licensing rights and unsubstantiated riches; some have created fake profiles and used the site(s) for nefarious and greedy purposes. It is hard validating and verifying projects: there have been a few where a celebrity’s status has been brought into question. Zach Braff, when he pitched his 2013 film Wish I Was Here, was questioned regarding the need to ask people for money – considering he could amply afford to fund it by himself! Those debates were quelled by an important point: those who fund these larger projects will, in turn, fund smaller ones...

IN THIS PHOTO: The cover for Amanda Palmer's album, Theatre is Evil/PHOTO CREDIT: Getty Images

There is a chain of benevolence that means the average funder will look to assist others. I know, through the years, there have been projects that have raised eyebrows. Some have raised money for films/projects with a liberal agenda; there have been questions regarding political and graphic nature; projects and pitches that could be seen as controversial and divisive. There have been relatively few pitches that have been outright corrupt, fraudulent or greed-driven. The majority of creatives use these platforms in order to assist their process; to get their material to the people. One can claim big film stars do not need to tap the public for money. Not only are they not doing that: it is aimed to get people more involved with the filmmaking process; to divorce the enigma and calculated process of film. By offering something more communitive and involved; it means the funders can see the film’s creative process come to life and reap rewards – the person who pitches an idea on these sites offers backers rewards. Some big musicians have used crowdfunding to make their dreams come true. Amanda Palmer split with her label before recording Theatre Is Evil. It was an album received with positive reviews: the only reason it came to light was down to fans and funders. She raised $1.2 million - and ensured her fans were involved in every step of the process.

IMAGE CREDIT: Getty Images

De La Soul turned to crowdfunding for their ninth album, ...and the Anonymous Nobody. They separated from a major label – claiming they infringe on the creative process – and, within a month of their pitch; they raised over $600,000. That is another reason crowdfunding is important: artists, big or small fish, can gain independence from labels and ensure they control the creative process. There is a reverse-logic for new artists: they do not have lucrative contracts and have full creative control. Despite the best-meaning dreams and strongest material; it can be hard finding the money to fund a record. There are some who say those who have a label should count themselves lucky and be happy with it! The label is a way of getting music spread further and having support, it is said. That is not to say (the label) will let the artist do what they want and not interfere: too often, artists find their label becoming too involved and demanding. It is not a cheat to go to crowdfunding sites and establishing some creative control. For newer artists, mind, you have to ask that question: why go through that process?! It can be hard, having those ambitions, and finding your project is under-funded. These pitches are only funded when all the money is raised – some sites do not operate like that – so it can be hard to hit the target sometimes.

PHOTO CREDIT: Unsplash

I pitched an idea once (not the best thought-out) where a group of musicians would cover Elbow’s One Day Like This. It would be filmed in London and it would, essentially, be a one-off music video. Even for something like that, fairly easy to plot and realise…it can be tricky. There is an assumption musicians have loads of money to burn and crowdfund so they have more money for beer. There are, sure, some artists who have a bit of money but want to get away from the label’s grabbing hands. For many people it is about being able to fund a song/album: many do it so they can involve their fans in the process. Music is about recording songs and putting them into the digital ocean. There are various steps in-between but, at any stage, do you really give followers a chance to get involved with the music itself?! Artists put social media updates out – but there is never a sense you are connecting with an artist that much. A lot of crowdfunding projects have physical rewards. Backers can feature in a music video; they might be credited on an album’s sleeve – big backers might get to spend a day in the recording studio.

PHOTO CREDIT: Unsplash

Depending on your target; you are never really asking that much of any artist! I have backed a lot of projects and, in most cases; it is never more than a tenner. Those who criticise crowdfunding labour under the assumption innocent members of the public are being gouged. That is strictly not true. The stress and burden is never on the backer: the responsibility and hard work falls with the artist. THEY are the ones who need to get the word out and promote their stuff. It is a relentless and tough process where you are always keeping one eye on the counter – seeing if the numbers are going up; how far away you are from the target. An artist puts their heart into the project and always hopes to reach the target. The sheer relief at hitting that target – check She Makes War's social media... – lets you know how much it means! In a lot of cases; it can be a Bond-esque race to detonate a bomb: hitting the fund target a day or so before the deadline! It is not a case of the musician watching the pennies roll in and not doing any graft. I shall come to the most obvious reason why crowdfunding is good but, before then; I want to bring an article in:

“The costs of making music have come down drastically as well, and independent albums today sound better than many major label efforts of the 80's and 90's. Quality still isn't cheap though, and the costs of manufacturing and publicizing a release still put a truly professional campaign out of the reach of many indie artists. We do have access to one incredible resource however: our fans!

 PHOTO CREDIT: Unsplash

Crowdfunding has become an important tool in the arsenal of many indie artists, and it’s a strategy that has helped level the playing field for artists who don’t have label money propping them up. I’ve had a lot of success on a variety of platforms, and I wanted to pass along some of what I’ve learned. Buckle up!...

My most recent crowdfunded project was done through PledgeMusic. There are a lot of similarities between PledgeMusic and Kickstarter, but there are also a few big fundamental differences.

Like Kickstarter, PledgeMusic makes you pick a goal amount, and expects you to reach that goal or refund the money. PledgeMusic is WAY more hands-on right from the start, though: they assign you a project manager, take stock of your band as a business (by looking at your social media stats and your level of fan engagement, as well as other metrics they don’t publish) and they try to help you set a realistic goal that they’re confident you can attain. Goals on PledgeMusic tend to be much more honest than on Kickstarter. This hurts their reputation a little bit when artists are comparing the two platforms, because Kickstarter artists SEEM to make a lot more money (since they regularly hit 200% or 300% of their artificially modest “goal”)”.

There are two things that come out of that case study: depending on which platform you use; there can be drawbacks and risks. It seems PledgeMusic is a better platform for musicians, at least.

PHOTO CREDIT: Unsplash

That hands-on approach and lack of risk – not having to refund money – means it is the go-to choice. The other point might mislead: the fact music is a lot cheaper than it was. That is true but, if you think about it; how many unsigned artists did you hear during that decade?! I don’t know about you but my musical tastes (from that time) are chart acts and those who were signed. It is true you can make a song/album a lot less expensively than back in the 1990s. Most of the artists around in that decade had a label and did not have to struggle the same way as modern artists. There is a lot more competition today and, as people spend more time working and less time socialising – happiness levels are decreasing. That is why people go to crowdfunding wells: financial aid. It seems like, on paper, the costs of recording an album are dropping. You can put together a record on your laptop and produce a dozen songs for as little as a couple of hundred quid – or less in many cases. You can then do all your promotion and digitally release it without breaking the bank. Most artists, mind, use instruments and have greater ambition.

IN THIS IMAGE: She Makes War (Laura Kidd)/IMAGE CREDIT: She Makes War

They want to ensure they stand out from their peers so use better microphones and spaces; take more time and employ more components. Songs are bigger and, in order to entice more fans; they release material onto C.D., vinyl and cassette. Look at She Makes War’s article in order to get an idea of costs and the breakdown of an album. She has recruited eight-hundred-and-fifty-eight backers (at the time of this piece) and is right at her target – she will probably hit her goal before this goes live. It has not been a smooth and easy ride for her. The album, She Makes 4, is practically funded but, before rounding off; a few thoughts from She Makes War herself – regarding the reason she is crowdfunding:

“Why? Because making high quality albums, even in these playing field levelled times of DIY digital recording, is expensive. Really expensive…nice-second-hand-car up to deposit-for-a-house expensive – and as a solo artist it’s down to me to pay for all of it. I don’t know any independent musician who doesn’t rely on the income from their merch sales to pay or part-pay for their living expenses, and I don’t know anyone who has between £5-£15K hanging about in their bank account.

 Yes, we could all make albums ourselves on laptops (and that’s how I write and demo my music without the need to pay for anyone else’s time) but I have no real desire to become a truly brilliant engineer or mixer, and I want my albums to sound as massive and incredible and wonderful and magical as they possibly can. I’ve always wanted to produce material of the quality you’d expect to be released by a respectable indie label, whether or not I ended up with the backing of one (and I’d love the backing of one).

While musicians are expected to do a lot of things for free/promo opportunities, recording studios, engineers, mixers, CD/vinyl/cassette printing companies and the Royal Mail all understand that exposure is something mountain climbers die from and charge accordingly. Every aspect of making music costs money, so in order to release music of the quality I want, I have to find the money somewhere”

A good point is made: austerity is terrible in the North - which means it is ethically hard asking some for money they cannot afford (She Makes War is in Bristol and struggles like everyone else). Given rent prices in London; many artists are unable to afford to live AND record music! I find myself in a position where I have to live at home and, despite a full-time job; I am unable to make a full move to London. The only reason I can keep my blog going is because I do not have to fund it.

IN THIS PHOTO: She Makes War/PHOTO CREDIT: Getty Images/Artist

I want to interview artists and do more videos but the cost of that is the cost: travelling around and getting the equipment is too much of a burden. Musicians have the same trials and struggles. Many have to work a full-time job (or two) and are seeing stress and anxiety levels go up. The demand and competition in the industry mean artists are spending time on social media; they are boiling everything down to numbers – chasing a carrot and stressing themselves into poor health. For artists like She Makes War; there are fewer opportunities and less money available - even less for those who live in northern England. Many of her peers are going through a testing and unhappy time. They want to bring music to the people but the only way to do that, and make it as good as it can be, is through crowdfunding. There are many more compelling argument to back up my point but the facts remain: artists are not doing it to bilk people and take an easy way around. The crowdfunding route connects an artist with their fans and builds closer ties; it means they can expand their horizons and reduce their anxiety levels. At a time where so many musicians are struggling and suffering poor mental-health; we should not begrudge them the opportunity to receive backing from fans. I understand why some artists want to go their own way and self-fund – that is good for them! Those who choose to crowdfund should not be judged or accused. They have very good reasons for doing it; they either face financial difficulties or want independence – and that need to connect more readily with their followers. In the case of many musicians – including She Makes War – it is a wonderful and enriching way to make their dreams…

PHOTO CREDIT: Unsplash

COME true (...and She Makes War has just hit her funding target!).

FEATURE: American Idioms and the Oxford Coma: Sociability and Community in Live Music: Celebrating Independent Venue Week 2018

FEATURE:

 

American Idioms and the Oxford Coma: Sociability and Community in Live Music

 IMAGE CREDIT: @IVW_UK

Celebrating Independent Venue Week 2018

__________

NOT only is the title of this piece an awesome…

IMAGE CREDIT: Getty Images/Press

idea for a possible album – or two song-titles – but they are representative of a point I want to make. The ‘American Idioms’ is a reworking of the Green Day song, American Idiot (from their masterful album of the same name). The reason I drop this into proceedings is the anger and vitriol evident in that song. The entire album, in fact, was Green Day’s return to the snarling, puked-up Punk of their formative years. Their seventh album, released in 2004, resonated with critics and arrived after a lukewarm Warning – an album that was not quite as overtly urgent and necessary as its title suggests. I feel there is a lot of anger and annoyance inside the most placid and calm heart. The world is constantly throwing in random tragedies and moronic politicians; a slagheap of disappointment that can derail one’s life. Even the most passionate music-lover – for whom music balms the blood and provides unquestioning companionship – feels the bite and turbulence of the world. We all have something to vent and express: the physicality and connections we get from live music is almost tribal and spiritual. I want to bring in the Independent Venue Week that BBC Radio 6 Music’s Steve Lamacq is involved with – and which spots are going to get coverage. The second part of the feature’s title relates to hesitancy and social punctuation.

 IMAGE CREDIT: @IVW_UK

We all get waylaid and fatigued by modern life and the demands of the working day. It can be hard finding time to get out into the ether and connect with your fellow ‘man’. I have written about this subject a few times before: why we need to preserve the live music scene; how music is becoming digitised and intangible; the soft positional bargaining stance of the Government when it comes to protecting music venues. I know there are measures to preserve venues so that noise complaints do not sacrifice those buildings that have provided great live music for years. There is not being enough done to ensure each town/city sees their venues protected and funded. In fact; it is not soft positional bargaining at all: the reality is, our current incumbent has no real knowledge of the music scene and why it is so important. I am angry we all feel the need to isolate and ‘save money’ by sitting in and neglecting what is out there. I am guilty of that, for sure. I am angrier at the Government and the negligent attitude towards live music. Every time I think about some people’s attitudes to music; I get Blur’s Coffee + TV’s stuck in my head – or the chorus-refrain of “Sociability/Is hard enough for me…” A lot of people are spending their after-work hours watching T.V. or sitting on the Internet.

IN THIS PHOTO: Moonwalks (who will take to the stage at The Hope & Ruin on 4th February)/PHOTO CREDIT: Getty Images/Press

One of the reasons I am like that is because of my energy levels. I am exhausted by the catawampus degradation of the working day. The effort needed to drive to a venue and connect with fellow gig-goers is a struggle. Nadine Shah launched the Independent Venue Week 2018 event late last year. I was excited seeing the venues named and the hard-working people who will get their dues. The event is in its fifth year, now.  One-hundred-and-sixty venues throw their names into the hat – they wanted to be featured and celebrated. Ambassadors Nadine Shah and Adrian Utley (Portishead) will act as leads for this year’s venues celebration.

IN THIS PHOTO: Nadine Shah/PHOTO CREDIT: Getty Images

The two will curate their own shows for Independent Venue Week – Shah will perform at Hebden Bridge on 3rd February. I know IDLES are primed to close the week with a (one would think, blistering) set in Liverpool. There are a couple of reasons why I am pumped for this year’s events. From this Monday (29th) to a week tomorrow (4th February); it will see artists get their first chance to perform to a willing and anticipating crowd. In alliance with Arts Council England; the event unites breaking and established artists, promoters; labels, bloggers and tastemakers together. You can get a full rundown of the venues involved next week by looking at Independent Venue Week’s official site. The sheer width and breadth of the event mean so many great venues will get more people in – encouraging locals to get involved and come see some great bands.

IN THIS PHOTO: Steve Lamacq/PHOTO CREDIT: Getty Images/BBC

I mentioned Steve Lamacq is touring the nation and bringing his show live from five venues through that week. He kicks things off on Monday by heading to Stowmarket’s John Peel Centre; he heads to Boileroom on Tuesday (I should go as I am only down the road from the place!) and hits Leicester’s The Cookie the day after. Then; it is to Hebden Bridge, The Trades Club on 3rd (February) before a finale at Liverpool’s Studio 2 – where IDLES will be in attendance. I have sprinkled a few posters – from the Twitter page of Independent Venue Week – to show who is playing it various spaces. The Lamacq-backed venues will bring a load of new people out from their sofas and into a communal space. Not only do new artists get exposure and a rare experience: many will attend their local venues for the first time! I will tune into Lammo’s show next week and get that second-hand experience of the venues week. More than that, being close to a featured venue; it is a chance to spend an evening away from the laptop and among like-minded people. That is why next week will be so special: music fans coming together with some fantastic new artists. It is a thrilling, much-needed spotlight on a corner of music that is more like a backbone – it has been here for decades and, faith willing; it will be around long after all of us have gone.

IN THIS PHOTO: IDLES/PHOTO CREDIT: Lindsay Melbourne/DIY

Check out the link above and see which venue is closest to you. If you go to that venue’s website; they will provide details of the artists playing on the bill. Make sure, above all, you get involved and show your face. Too many of us are slaves to work - and feel reluctant engaging with anyone once the day is through. It does not have to be every day: a once-a-week gig can lift the spirits and improve mood; provide fresh impetus and bring fans and artists together. I have been determined to get out more since 2018 began. I spent a lot of time last year hypothesising and theorising my love for music; reviewing artists from afar and interviewing people by email. The social aspect of music was hidden and, as such, I got into a routine. So much of today’s music involves us being sedentary and idle. Live music is, in fact, one of the last avenues for exercise, expression and community. Many of us take live music for granted: many ignore it through fear it is too expensive and tiring. If we all make a conscious effort to see the odd gig here and there; not only are we supporting these fine and vital spaces – our happiness increases and we get out and see some great music! Independent Venue Week kicks off on Monday and, if you get that chance; make sure you get out there and support these great places. Not only will it enrich your own life but support a community who needs these venues/musicians now…

 IMAGE CREDIT: @IVW_UK

MORE than ever.

FEATURE: Spotlight: Yonaka

FEATURE:

 

Spotlight

PHOTO CREDIT: Getty Images

Yonaka

__________

THE boys of Shame will be next on the parapet…

PHOTO CREDIT: Louise Mason/DIY

that is the Spotlight feature. They are another band whose name can be written in lower or upper-case lettering (I'll go with the former - the latter bugs me a bit!). One of the reasons I wanted to feature Yonaka is because of their female lead: Theresa Jarvis is among the most important and original voices in new music. Joined by George Edwards, Alex Crosby and Robert Mason – the quartet whip up a heady sermon that has got critical tongues drooling and fans pumped! They have been on my radar a while but there is a reason why the guys will steam and roll through 2018: where they are based. Brighton is a city I will throw a separate spotlight on very soon. It is, alongside London and Manchester; a place where an artist/human can feel connected, alive and fulfilled. (My passion for Brighton is unquestionable and undiminished). Their shows are the stuff of fantasy: a band who knocks the roof off and can peel a tattoo from a mosher’s nuts from fifty meters! Theresa Jarvis is the insatiable and energy-infused lead who can get every crowd exhilarated. The band signed a major-label deal in mid-2016 but, as they told NME last year; the gig they played that night was a fuzzy-headed and shambolic thing – too much free champagne flowing when they all provided their wet signatures! The band already had a solid live reputation by that time: a willing crowd would forgive some off-key shouts and unruly setlists. The wake-up call came when they started to craft their E.P., Heavy.

In a music scene where there are some great female-led Rock/Alternative/Punk bands – including REWS and False Advertising - it is refreshing to see Yonaka on their own. They are non-conformist and unique: this comes across in every note of the E.P. Bubblegum, the standout single, combines a melodic sensibility of No Doubt with elements of Hole, Queens of the Stone Age and Smashing Pumpkins. The band wanted to create (an E.P.) that had consistency and distinct personality; they wanted to put something out with diversity – so it appealed to a broad taste. Singles like Drongo, Wouldn’t Wanna Be Ya and Ignorance suggest a group who do not want to be labelled and honed. Heavy’s light-dark shades mix fire and cool; an accessible core and barbed-wired boundaries. The Atlantic Records-signed band, ever since 2016, have been verbalising their insistence they are not your workaday Rock band. They sniff at the posh and whimpy bands: the kind who vote Tory and get annoyed if the local Marks and Spencer runs out of their most pretentious sandwiches. Brighton seems like the perfect place for a band of friends who want to stand out. In an area defined by colour, diversity and equality; it is encouraging they are getting more attention and making their way to the masses. Maybe they will move to London in time – more chances to play and more money – but it seems like spots such as Green Door Store and Sticky Mike’s Frog Bar are right up their street! The band – ‘Yonaka’ is the Japanese for ‘the dead of night/midnight’ – gained important exposure as early as 2016. They have already played The Great Escape, and so; with that sort of experience under their belt – I expect this year to be an even bigger one. They have had their lows and bad gigs – doing the ‘toilet circuit’ like everyone else has its risks – but have learnt a lot from it. They want to be big and make a living from music; hit it properly big and make a success of it.

They have the ammunition and talent to go as far as they want. One of the dangers of having that exposure and acclaim is a certain compromise: making allowances and trying to adapt your music for the mainstream. One hopes the band don’t appear as judges on a future series of The Voice – or appear on any reality shows – or start hanging out with Ed Sheeran on the sly! The mere images are enough to make me want to vomit my own blood: I know the band will not succumb to such cheap and fetid lows. They want to be big so they can take their music around the world and rock some epic stages. So far, in a few years, they have managed to transcend from the remnants of other bands to get where they are. The reason they have such a diverse and ever-growing look is the music the band listens to. They might be investigating Grime or Pop; throw some 1970s Punk into one day – it all comes out in their own sounds. I have been excited by Wolf Alice: a band with similar broadness who are making incredible strides. They are another female-led band who seems unlikely to squander their own path and tread down the rather colourless and fame-hungry one of the mainstream. Yonaka have that diverse spirit and variation in their ranks.

PHOTO CREDIT: Getty Images

Albums from Jeff Buckley and Dr. Dre feature in their collection; they take a lot of influence, overly or not, from the latter. What stuns me is the way they manage to integrate and mingle all the various colours and shades together. Lesser bands would come across rather uneducated and lazy. For Yonaka; they want to take chances and add an injection of originality to the scene. The world is growing bored of genetic and formulaic Popstars: the rebellious backlash are showing their anger and trying to usurp the established order. The day will come when the Brighton-based band are ruling the airwaves and taking to the Glastonbury stage. I hope, when they get there, they get to a headline spot. The festival has been accused of sexism and booking rather predictable bands to top their stages. It might take a few years but the chemistry in the camp means patience is not an issue – a lot more music will come from the quartet. So…what of 2018? They had an eventful and career-high 2017: one would hope that momentum and acclaim translate into something big this year. Peers such as Cabbage and Shame are coming along and adding something honest, real-life and working-class into music. It is a slow transition but there is a tangible need for change and revolution. It might not be on the same level as the Britpop motion of the 1990s – that is not to say bands like Yonaka cannot inspire others and make genuine changes in the industry.

PHOTO CREDIT: Louise Mason/DIY

I shall leave things here – but it is a good start to their careers. An E.P. has been released and the guys have played some great gigs. So far this year; the band has played Green Door Store and made NME’s list of the one-hundred acts to watch this year. They have played with The Cribs and brought their brand of music to the people of Reading and Cambridge. They have some minor festival dates booked for later in the year: one wonders how many other offers will come in the next few weeks! Alongside the wave of innovative new bands – including Shame and False Advertising – I feel a whole new festival could arrive. It could be one for artists who subvert the mainstream and bring anger back into music. I am not sure what the festival would be called: whatever the outcome; Yonaka would own it! Their future is bright and, with a series of stunning songs out there; I can see the fans flocking their way. I feel this year is going to be a massive one for a band who…

PHOTO CREDIT: Getty Images

ARE bringing something new and exciting to music.

_________

Follow Yonaka

PHOTO CREDIT: Getty Images

Facebook:

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

Twitter:

https://twitter.com/weareYONAKA

Instagram:

https://www.instagram.com/weareyonaka/

SoundCloud:

https://soundcloud.com/weareyonaka

YouTube:

https://www.youtube.com/channel/UCzBddYqg5UYiz3U6EhwDCEA

Spotify:

https://open.spotify.com/artist/3Wcyta3gkOdQ4TfY0WyZpu

FEATURE: The Fall of Rome: Why Mark E. Smith Will Be Remembered Forever

FEATURE:

 

The Fall of Rome

PHOTO CREDIT: Getty Images

Why Mark E. Smith Will Be Remembered Forever

__________

I thought I would leave it a little while…

PHOTO CREDIT: Rossen/MAI/Getty

before offering my thoughts and impressions regarding the death of The Fall’s Mark E. Smith. This piece is not specifically about him: it is a look at uniqueness in music and how, as we move through the years; there are fewer standout artists and genuine personalities. I will sprinkle a couple of songs from The Fall into this piece but, with Smith’s death still raw and resonant; I wanted to reflect and offer some input. It is the stories – relating to Mark E. Smith – that is getting to me. We often think about a musician in purely musical terms. Today, with so few original spirits and characters; it is extra-sad Mark E. Smith is no longer here! I have been listening to radio tributes and remembrances. A lot of musicians, when they die, are membered and noted because of their music: you do not often single their personalities out. The Fall left behind a huge catalogue of music (more on that later) but it is, in my view, the ‘unique’ dynamics of Mark E. Smith that made the biggest impressions. The anecdotes have been shared and those riotous tales revealed. It seems, at every gig, there was something unexpected. Sometimes, he would walk off mid-song or not sing a certain song – letting his band play it without him – or he would leave the audience waiting whilst he (secretly) watched the gig from a balcony.

PHOTO CREDIT: Getty Images

In public, he would connect with people but always leave his mark. He was humble and real; he would joke and was cheeky; each interaction was memorable and real. Smith has that reputation for confrontation and awkwardness - but that seems to add to his appeal and mystique. If you had a musician always nice and cheery then that would be boring and unrealistic. People are not always pleasant and appealing: we all have bad sides and moments where we are unkind. Many might say Mark E. Smith took that a bit far – he was who he was and hope to shoulder a lot of stress and problems. Smith, especially in recent years, suffered badly with his health and, for someone determined to bring the best music to the people; maybe all that burden and strain meant he behaved that way. In reality; he was a pure and open northern soul. His spikiness and crueller moments were outweighed by the good times and wonderful music. The Fall was a fairly niche act who did not command the same popularity as artists like David Bowie, for instance. There was humour and complexity; ever-changed sounds and some of the most original songs you’ve ever heard. I suspect a wave of new affection will come – and maybe a biopic of Mark E. Smith down the line – and that provides the chance for new listeners to fall for a very special band who touched many hearts.

Mark E. Smith fired a lot of band members but, as he saw it, that was a way of keeping things new and moving. In describing him; one almost gets visions of a dictatorial ruler: a regime based on fear and intimidation. That is not the case at all. The abiding weight is of a man who, over four decades, managed to change the face of music and inspire countless other artists. I will put a playlist together at the bottom of this feature but you only need look at the reactions that poured in after his death to realise Mark E. Smith was a cherished and treasured man. His health was a burden and something that hindered a lot of live shots. In August; he was hospitalised for issues relating to the throat, mouth and respiratory system. I will end by looking at some of the tributes and testimonies that have been paid – but the final interview Smith conducted strikes my mind. Speaking with The Guardian last year; he was his usual candid and unabashed self:

Are you a Prince fan?

No. They’re weird aren’t they, Prince fans?

I guess I’m weird then. Do you like much new music?

The standard of music these days is fucking terrible. Being poorly you have to watch shit like Jools Holland. A lot of it sounds like when I was 15 and I’d go round to a long-haired guy’s flat to score a joint and they’d always put on some fucking lousy Elton John LP. That sounds like Ed Sheeran to me, a duff singer songwriter from the 70’s you find in charity shops…

PHOTO CREDIT: Getty Images  

Is it important for you to remain angry?

Yeah. People still cross the road from me; I’ve still got that. I can clear a pub when I want to. It’s a talent.

Did you vote in the general election?

I didn’t make it out. There is a Labour woman from Salford I like though [6]. I enjoyed Nick Clegg losing his seat and it also proved how clueless all these political journalists are. The barmaid knows more about politics then they do, they’re all fucking bluffers.

That selection of answers highlights the honesty and openness of Smith. He did not care for boundaries and normalisation. He was someone who spoke his mind and lived in the real world. Some of his words might have come across salty and acidic: it was always designed to project an unblemished and pure artist who was not resigned to aimless and inane sound-bites. In another Guardian interview - Brix Smith Start talked about her late (former) husband – I have sourced a small snippet:

“Somebody told me that you never know who you might meet, so you always carry a demo tape with you. He listened to three of my songs. My heart was pounding with nerves, and he turned to me and said: “You’re a fucking genius.” Marc Riley had just left, they needed another guitarist and he was probably cooking it up right then and there.

 IN THIS PHOTO: Brix Smith Start/PHOTO CREDIT: Getty Images

We fell madly in love, inseparable. So we planned our marriage for as soon as we could. We got married in the register office and we had a reception at the Eagle and Child pub, which was arranged by his dad. We had sausage rolls, pickled onions, crisps and beer. And then we went back to our flat in Prestwich, and we played music all night with our friends. It was inevitable. It was meant to be.

Any time any band did something that sounded like the Fall, it would infuriate him. He was the fiercest Mancunian that I have ever come to know, and there are a lot of them. Morrissey was a massive Fall fan before the Smiths, and used to write him fawning fan letters, which we have in our house, signed. But the Smiths signed to Rough Trade, and Rough Trade obviously put everything they had into the Smiths, which we can see now was worthwhile. And Mark felt kicked to the curb. I remember we were all playing a gig in Manchester, and the smoke alarm went off in the hotel. I was quite panicked. I saw Morrissey, and asked if he’d seen Mark, and he said: “Yeah, he’s upstairs burning.” I never spoke to him again after that”.

Everyone from BBC Radio 6 Music’s Lauren Laverne and The Charlatans’ Tim Burgess has paid tribute to the great Smith. Lavern, on her morning show, labelled Mark E. Smith one of her greatest heroes – “So sharp, clever and untouchably cool”. A fellow BBC Radio 6 Music D.J., Marc Riley, is a former member of The Fall. He played the guitar with them from 1979 and 1983 and, like Laverne; Riley paired his heart out – with a slightly different set of experiences. He learnt a lot from Smith: ideas about life and the music; a new way of life he was unfamiliar with.

IN THIS PHOTO: Marc Riley/PHOTO CREDIT: Getty Images

So many people have been out in force; determined to have their say about the icon. There are so few genuine articles in modern music: there is nobody like Mark E. Smith. We need to preserve his wit, words and wisdom for years to come. There was that grumpy and rude side – all part of a man who did not want to hide who he was. One cannot write off that side of things: the music and majestic elements of Smith outweigh all the negative factors. I shall leave the music to the end but, right now, you only need look at the durability and longevity to realise what an impact The Fall had. From 1979’s Live at Witch Trials to last year’s New Facts Emerge – thirty-two studio albums emerged in that time. 2017’s effort was lauded by critics and seen as a return to form – The Fall’s 2010s output is not seen as their strongest. Whether you fancy Extricate over Dragnet; The Marshall Suite over The Infotainment Scan – there is something in there for everyone! You can see (from the playlist below) the fantastic tracks that exploded from every album. Maybe I was a bit hasty when it came to filtering all the genius of The Fall to the man himself. The music is stunning - and unlike anything the world will ever see. Even though Smith was the catalyst behind that: the rotation of band members, and the chemistry they brought together, led to those terrific records.

Now that Mark E. Smith is gone...I wonder what the music world will do. It is like an empire collapsing: the emperor has fallen and the subjects are searching around for answers. Music will enter a darker phase where vacuum and emptiness will occupy. We will never see anyone like Smith again. Music is an industry that has more fabricated and fake artists than real people. Personality seems second-nature to the music itself. We do not really connect with musicians – new ones, at least – or get an idea of who they are and what they are about. I suspect the industry is too busy and bustling to take the time. I suspect the answer is more obvious: there is nobody that interesting and compelling. Music needs those sharp wits – and sharper tongues – to elevate it beyond the drab and boring. Smith’s unique personality translated into his music: a veritable concoction of northern poetry and working-class observation; strange sentences and odd sentiments. It was always varied and unexpected; tantalising and intriguing. It is a tragedy Smith is gone: his music will echo through the ages and his words scripted into the history books as an example to all of music. In a confused and tormenting time, where truth is subjective and facts are blurred; we have just lost a human who…

IN THIS PHOTO: Mark E. Smith and Brix Smith Start

ALWAYS told it like it was!

FEATURE: The January Playlist: Vol.4: Blake’s Metaphor

FEATURE:

 

The January Playlist

 IN THIS PHOTO: James Blake/PHOTO CREDIT: Universal Republic Records

Vol.4: Blake’s Metaphor

 _______

THIS is a properly chunky one!

IN THIS PHOTO: Dream Wife/PHOTO CREDIT: Getty Images

It has been a bit of a mixed time for new releases but, with 2018 in full charge; there are fresh treats from Jack White, James Blake and The Vaccines. If that were not enough…pour in some Dream Wife, Craig David and Django Django; Graham Coxon, Tom Misch (with Loyle Carner) – a bit of Shaggy and Sting for you, too.

It is a pretty decent week, by the look of things…

ALL PHOTOS (unless credited otherwise): Getty Images

________

Jack White – Corporation

Unknown Mortal Orchestra – American Guilt

The Vaccines – Nightclub

Alice Glass – Cease and Desist

Tom Misch (ft. Loyle Carner) – Water Baby

Franz Ferdinand – Lazy Boy

Field Music – Share a Pillow

Fever Ray - Wanna Sip

Kali Uchis (ft. Tyler, the Creator and Bootsy Collins) - After the Storm

Noel Gallagher's High Flying Birds - It's a Beautiful World

James Blake – If the Car Besides You Moves Ahead

Justin Timberlake (ft. Chris Stapleton) – Say Something

PHOTO CREDIT: Cherry Cherry Boom Boom

Sting & Shaggy – Don’t Make Me Wait

X Ambassadors – Joyful

Craig David – Brand New

PHOTO CREDIT: 30 Seconds to Mars/Getty Images

Thirty Seconds to Mars - Dangerous Night

Django Django – Sundials

Rudimental (ft. Jess Glynne, Macklemore and Dan Caplen) - These Days

Swimming Girls – Back of Your Car

Lady Gaga – Joanne (Where Do You Think You’re Goin’?)

PHOTO CREDIT: @slb_photo

Dream Wife – Kids

PHOTO CREDIT: www.olliegrove.com

Hollie Cook – Angel Fire

Elle Watson - Suspended

Shakira (ft. Maluma) – Trap 

Lucy Rose – All That Fear

PHOTO CREDIT: Jodie Canwell

Underwater Boys – Everyone You Know

Nils Frahm – Forever Changeless

Graham Coxon – Bus Stop

The Aces – Fake Nice

Cabbage – Arms of Pleonexia

PHOTO CREDIT: @boohoomanofficial

Jhené Aiko (ft. Rae Sremmurd) - Sativa

DNCE – DANCE

Fenne Lily – On Hold

Tremors – The Rush

Three Days Grace - The Mountain

RAT BOY – BE MY ANIME