FEATURE: Verse 1, Line 2: How Easy Is It to Be Free and Loaded When Chasing a Musical Dream?

FEATURE:

 

Verse 1, Line 2

IN THIS PHOTO: Erin Pellnat/PHOTO CREDIT: Alex Joseph  

How Easy Is It to Be Free and Loaded When Chasing a Musical Dream?

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THE ‘Verse 1, Line 2’ part of this feature…

ALL PHOTOS: Unsplash

refers to the first couple of lines from Primal Scream’s hit, Loaded. Their ‘loaded’ is slightly different to the one I have in mind: more about getting wasted, I guess, than a financial advantage. My point and argument hold firm: we all, in a way, want to be free and do our own thing. Thinking about that Screamadelica masterpiece; it got me thinking about careers and how we often get trapped in the same routine and traps. Hot weather can do strange things to the mind: we can rationalise big leaps and find clarity when the thoughts are clogged and depressed. I have quit my job of two years and embarked on this decision to pursue music journalism as a career – if not full-time then, right now, on a semi-full-time basis. It is daring, I guess, making that decision but is there a perfect time or scenario where putting your all into music is right?! I have come to the point where I know where I want to live (Manchester) and feel confident my work merits financial remuneration and affectation. I am prolific and actually produce more than most other journalists around (comparatively) - and feel my time is being punished by working a full-time job I dislike and cramming unpaid music work into the remaining hours I have left. Trying to redress that imbalance instantly might be like eating a banquet after going on hunger strike for days: it feels right and good but one needs to be wary of the logistics and obvious ramifications.

Maybe that is a bad example, but you know what I mean – one gets to a point where a passion needs to be followed to its eager curiosity. Next week is a rather important and busy one: I am negotiating the heat and staying in (largely) planning a move to Manchester – a three-day trip next month to have a look around – and getting myself out there. I will be finishing up the bulk of my unpaid requests and transferring people to a paid site – I shall reveal more about that in time. I am aware the payoff and profit will not be huge and instant. There will be time to bed-in and it is going to be a little tough on the financial front. A part-time job will fill the gaps, for now, and when I embark on a move – around August-time, I suppose – I hope to be in a position to combine a part-time and productive writing side with some part-time work…retail or something of that sort. That allows me to combine journalism and work and find a good balance of sociability and quiet; paying the rent and making a go of things. When it all gets busier and bigger that will, before long, allow me to focus fully on journalism and make a bigger stab of it.  

Recently; I posted my plan on social media and it was met with encouragement and approval (thanks to all that responded) and I was heartened to know this leap was not foolhardy or uneducated. I have heard some horror stories from musicians recently that make me wonder whether more caution and consideration needs to be applied regards dispending with the mundane and boring. Some artists have seen their music screwed around and scrupulous promoters do them wrong. One contact was lied to by a promoter and lied to when it came to a deposit she was promised. Another has had a bad experience at a gig and met with an unruly and undisciplined crew and technical faults. I know setbacks happen and some artists will witness troubles – does that mean careers other than music need to be considered?! Of course not, but there is an argument to suggest there are obvious risks heading into an industry where financial security is not a guarantee. I cannot well turn my heels and retreat back into the nine-to-five slog after the first obstacle. I know paid work will trickle in and it may take a while to benefit truly. I am pragmatic enough to plan for some short-term struggle and know a fortitude and positivity is the only way to transition any quibbles.

There are many sitting on the fence and unhappy with their current lot. Music is, unfortunately, a precarious business where you can get paid gig and revenue but it is not a loyal and consistent stream: there will be fallow weeks and other times when the work comes rolling in. The profitability and situation for a journalist might be darker, still: only the bigger professionals rake in a proper salary; most of the rank-and-file scribblers are all battling in a rather busy and packed pond! I think one needs to do their homework whatever side of music they are considering leaping into. If you are a musician or D.J. then you have plenty of people to talk to and examples of similar-minded folk embarking on the same route. Journalists are able to investigate and see whether paid work is a reality that lasts beyond a few weeks/months. I have been doing this for over seven years and know the time it will take to earn a proper and secure wage is a little way off yet. The reason I dispensed with the office shackles – among others – is the time wasted in employment that did not fulfil me. Many of us have to do this and that is the way bills are paid and the way we get by. If you have talent, then, should we not try everything to foster that and make it viable?! That is the rationalisation that led me to post notice and embark on a journalistic step.

I have been spurred by others who have cast off their ties and office colleagues for something that is more nourishing and pleasurable – if lower paid and a little less structured. I have noticed a joylessness and sense of anxiety creep into the hearts of many people I know. They are frustrated having to balance working and making music: an impossible juggling act that, more often than not, is leading to undue stress and upset. Everyone needs to be sure of their decision when they decide to make music their lifelong partner – rather than the rather fun flirtation and casualness they had before. You will hear a lot of people suck through their teeth and give you the same sort of patter a builder would when doing an estimate for a renovation or extension on your house. It is all very costly and risky and, you know; do you really need to do it?! In fact; a builder would be less inclined to talk himself out of business – another bad analogy that I will drop. Too many people are hesitating when it comes to moving into music full-time. The downsides of failure are large and could lead to financial struggle: taking the risk is, surely, something you NEED to do?! I got to the point where I was so unhappy with my daily life and being a bit of a prick. Making a decision to move to a different area – somewhere I can feel more ‘me’ and alive – and the possibility of paid musical work has provided new direction and purpose.

Maybe it will be a little touch-and-go at first but, turning thirty-five (on Wednesday) has provided me with a sobering question: am I truly content and excited about life?! The answer was an easy and resounding ‘no’: I feel I am more frustrated and upset than I am optimistic and settled. The all-too-brief moments of music writing I got to do after my daily shift gave me a sense of relief, release and calm. Extending that, naturally, seems to be a good answer to alleviate the sense of unhappiness I have felt. I would urge others who are in a similar boat to taste and test the water before they leap in. Rather than think about what could have been and focus too much on the financial pits – there is always a back-up and option if you need to earn money – consider how meaningful your choice is and what music (or any other profession) means to you. It is all well and good me putting myself in other people’s shoes and confidently walking around without considering their situation and realities. Not everyone will be able to fulfil their dreams instantly: the fact you have made that decision and given yourself that goal recalibrates the mind and will, surely, take a lot of burden from the shoulders. Returning to the Loaded-quoting title of this piece and the question Primal Scream posed back in 1991: even though it documented excess, love and liberation; a line stands out that seems to bed rationalise and explain why people like me ditch the perils of a boring job and aim for the sky: “We wanna be free…

TO do what we wanna do”.

FEATURE: Unfinished Symphony: The Struggle Classical Musicians Endure and the Declining Stock of Gibson

FEATURE:

 

Unfinished Symphony

 ALL PHOTOS (unless credited otherwise): Unsplash 

The Struggle Classical Musicians Endure and the Declining Stock of Gibson

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A couple of startling revelations have come out in the past…

couple of weeks that have given me reason to bridle and reflect. The first, main story is one that will ring true with many musicians. Nearly half of the U.K.’s Classical musicians don’t earn enough to live on say the Musicians’ Union. Rank-and-file members of the BBC Philharmonic or City of Birmingham Symphony Orchestra earn around £30,000 a year. Wages are on the drop and so many young musicians are finding it hard to make it into the world. Classical music has not really been in the popular mindset for centuries but is integral and ever-popular. The musicianship and dedication you find among Classical musicians is beyond anything I have ever seen. You do not need to listen to Classic FM or attend a ballet to hear some incredible Classical music. One of the reasons I am saddened to hear of a wage stagnation is because of my favourite area in London: Covent Garden and its piazza. It is an area I gravitate towards whenever I hit the capital. From Waterloo; I get my arse onto the Piccadilly Line and towards Covent Garden. Hanging over railings and seeing the Classical musicians play to the public is one of the isolated joys of being in London. It is wonderful hearing them play and do so with so much energy and humour.

IN THIS PHOTO: Covent Garden/PHOTO CREDIT: Getty Images

There is a man who comes around with a donation basket – not sure what he is called – and ensures the players are subsidised. Most of the acts that perform there sell C.D.s but one wonders how many people pick them up and buy any. The only way those players are getting any money is the generosity – which can waver and wane depending on the weather and mood – and that barely covers travel. The costs involved with a small-scale set like that are still high. The performers need a license and travel to the site. They need insurance for their instruments and have to feed themselves. I am not sure of the exact cost of a gig at Covent Garden but I worry the performers do not even break-even when all the takings are measured against the debit. Forty-four percent of players have told the Musicians’ Union they struggle to make ends meet. I know a lot of musicians (obviously) and hear daily stories of the costs of getting to gigs and how little they can turn around. Many play for free and others are getting petrol money only. Aside from exposure and experience; the reason they are accepting such low wage is to get themselves out there and music heard. Only the biggest musicians out there are earning serious money and able to do what they do full-time.

I am amazed how many great musicians have to do one (or more) other jobs in order to put food on the table. Classical musicians are experiencing the same issues. Around two-thirds of experienced players say they have considered alternative careers. It is only because of the joy of playing and th passion that keeps them performing – they have enough to scrape through but not enough to really feel comfortable. I wonder what the reason behind this worry is? Unless you have years’ experience and a packed C.V., I suppose the only way you can make any money is doing smaller performances. It takes many years of practice to get to the big stages and Classical music, still, is limited to the boundaries. If it were more evident in the mainstream and popular as Pop, I feel we would not see this privation and struggle. I want to bring in a BBC article that spoke with a flautist, Jemma Freestone:

"It's becoming increasingly obvious that playing your instrument is a small part of what is needed to survive in this industry," she told the BBC.

"For me, that's a brilliant thing. I love teaching and I love doing workshops but for some other people that can be very difficult.

"All you learn in music college is how to play your instrument. You don't learn these auxiliary skills that, in reality, you need to survive."

Ms Freestone plays with the Southbank Sinfonia and the National Theatre, aside from her teaching and outreach work. But she notes that in other European countries, orchestral musicians "the salary is far higher".

"Perhaps it's not valued enough as a profession," she said”.

PHOTO CREDIT: Getty Images

There are some interesting points raised in that snippet. Music, now, is about so much more than learning your craft: artists need to be business-minded and cope with the market; they need to be their own accountant, advocate and promoter. Classical musicians are not as valued as they once were and other nations pay more – we need to look at these issues and redress the concerns. The Musicians’ Union has polled orchestras and launched a campaign, Behind the Moment, that reminds people about the value of orchestra. We are all exposed to Classical music on a daily basis. From video games’ soundtracks and T.V. shows; to films and the odd instrumental fleck in popular songs – you can hear brilliant musicians adding their voice into the world. The fact remains: many orchestras risk closure. That would be a disaster and mean a huge crack would run through the spine of popular culture. One cannot the impact on the music business of orchestras ending and what effect that would have on other angles of the music industry. I have hope there will be more funding provided but do worry we overlook Classical music as being niche and lacking any commercial appeal. These people give their all to the music and are incredibly skilled. They provide a valuable role in music and that should not be denied!

Another article has brought into focus the struggle of Gibson: one of the biggest manufacturers in the guitar market; responsible for making instruments for some of the world’s biggest artists. The statistics and future look shaky:

“On Tuesday, Gibson Brands, Inc – with the biggest product line in the guitar business – filed for bankruptcy, succumbing to an estimated $500m debt load and a failed reinvention in 2014 as a “lifestyle brand”.

Troubles in the land of the six-string are not restricted to Gibson. Ten years post-recession, the guitar industry in the US continues to bob, with the 2,633,000 units sold in the United States in 2017 about 5% short of where things stood in 2008, according to Music Trades magazine. The heavyweight retailer on the American scene, Guitar Center, carries $1.6bn in debt.

Take into account adverse cultural and economic trends – changing musical tastes, online commerce, the lure of the smartphone and the eclipse of the guitar hero – and whispers begin to circulate about the guitar being on the way out. Unless it is already dead?

“The demand for guitars has softened – that’s a story in its own right,” Chris Martin IV, CEO of the legendary acoustic guitar maker CF Martin & Co, told the Guardian. “And Gibson was over-leveraged. But please don’t draw the wrong conclusions. Do not conclude that the guitar is dead”.

IN THIS PHOTO: Gibson Custom LPR8 Aged 1958 Les Paul Standard/PHOTO CREDIT: Getty Images

The final words – that the guitar is not dead – provide hope but there is clearly something rotten at the core. A few problems are obvious: the non-existence of the ‘guitar hero’; competition from the Internet; the lack of music classes being taught – tie that to the price of a typical Gibson. Many have noted how expensive a basic electric guitar can be. Like Classical musicians and the cost of buying and insuring their instruments; up-and-coming guitar players are stumbling at the very first hurdle: finding enough money to buy an instrument. It is galling to think it would take hundreds of quid to buy a guitar – that is before one pays for lessons and even gets started. It seems the cost of a Gibson-brand guitar – you can check out their website to do your research – does not reflect craftsmanship and inflation. The cost, high as it can be, is consistent with a sense of greed and opportunism. It would be wrong to gouge high-profile musicians and take some buck from them: imposing such extortionate and unreasonable costs on young and limited-funds musicians is rather unethical, to say the least. The Internet means anyone can find a reasonably-priced guitar at a lower price. We have limitless online stores that have variable prices but, at the end of the day, the average consumer can find a less expensive option to a Gibson...

Schools are not teaching musical compulsively – some are but most are not – and that means many have to find money for lessons IN ADDITION to buying a guitar. It can be daunting for those starting out: many are being put off by the start-up cost and finding other alternatives. Maybe, in past years, people have gravitated towards a brand like Gibson because of the status and ‘coolness’ of owning one of their guitars. We do not really see the guitar icons of the past in today’s market. The Jimi Hendrix, Eric Clapton and Jimmy Page-like wielders are gone – in their place are less imposing and memorable artists like Ed Sheeran. Returning to the Guardian article I quoted and something interesting came out:

“…That population of younger customers who represent the next generation of guitar musicians and fans is surprisingly robust, said Phil Schaffart, a tour and production manager who opened Ground Floor Guitar, a boutique instrument retailer, two years ago in Omaha, Nebraska.

“There’s still lots of kids,” he said. “I believe – it’s a little corny for me to talk about it, or maybe it doesn’t make sense or somebody doesn’t feel the same way – but rock and roll is such a real thing in music, it’s like a religion.

“And I think that that is very real, and I see that all the time with young kids coming into our store and getting interested in guitar, both girls and boys.

“The real main thing is putting it in their hands, making them touch it, making them feel it, and making them believe that ‘I can do this’. People get really excited about that”.

IN THIS PHOTO: A Gibson Les Paul Standard with a 'desertburst' finish from 2006/PHOTO CREDIT: Freebird/Flickr via Creative Commons

Pop bands and artists have replaced the Rock titans of the past: the nature of purchasing has shifted from electric to acoustic. There are some great Rock bands around but the Pop artist is taking more of the focus. Because of that, there are ‘cheaper’ options available – the guitar Ed Sheeran plays is less daunting than some of the high-end versions. The ‘rosy’ news you saw there is, in fact, not that rosy at all: the rise in acoustic guitar buying is not enough to save a company like Gibson and not an impressive sign. I always think of Gibson and the electric guitars owned and smashed by some of music’s snarliest and most iconic stars. The fact a softer and more Pop-based brand is spurring demand makes me worry – I guess any interest in the guitar is a good thing?! There are two different stories – Gibson in trouble and Classical musicians struggling to survive – that make me feel certain areas of music are under-funded. The competition and changing nature of music means there is going to be suffering and loss along the way. We cannot stand idly by and allow institutions and vital corners to wither away and face peril. I hope there are solutions to these unsettling findings and a way to preserve the fortunes of Gibson and Classical music. In any case; it is evident that some modern changes in the music industry are causing…

MORE harm than good.

FEATURE: Digitalus: The Fantastic Music Publications Ensuring the Heartbeat of the Industry Remains Stable and Passionate

FEATURE:

 

Digitalus

 IMAGE CREDIT: DIY 

The Fantastic Music Publications Ensuring the Heartbeat of the Industry Remains Stable and Passionate

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WHEN NME shut down its physical edition…

IN THIS PHOTO: Goat Girl/PHOTO CREDIT: Pooneh Ghana (shot for DIY)

in March, it led many to come out and proclaim that printed music media was dead. Whilst the industry is not as healthy and productive as it was; there is plenty of evidence to suggest people want to keep music media physical and tangible. I have just got a copy of DIY sent through my door and delighted in flicking through the latest edition (it is free from selected newsagent and stockist but there is a small fee when ordering online). I discovered interviews, features and reviews all packed into a hand-held magazine that looked great and cost very little indeed. Many might claim it is free to see DIY’s content online - but there is something noble and heartwarming about a physical copy and having something I can read in a café. I am an online journalist but would love to produce what I do in a printed form and be able to disseminate it around the world. I love the accessibility of a website and how easy and quick it is putting content out into the world. It is nice and easy producing articles and connecting with the public. DIY, to me, is among the frontrunners of the music press right now. There are fantastic blogs out there but the fact they have a physical magazine, to me, puts them ahead of the online-online crew. I feel NME stopped its press because of the creative direction it took: some assumed it was a signal of the music media and the fact people want to have all their music content kept online.

IN THIS PHOTO: Anteros/PHOTO CREDIT: Emma Swann (shot for DIY)

I disagree the music press is dying and on its last legs. Whilst there are some big-name closures; one cannot blame that entirely on tastes and the fact people prefer things to be on the Internet. NME's physical-side-demise is a worrying signal people are becoming busier and, perhaps, have less time to read magazines and traditional formats. As I said; I feel there are other reasons why NME went the way it did – a change of leadership and a certain ethos alienated some and led many to suggest the once-legendary leader of the music press had lost all its edge. I was captured by DIY for a number of reasons. Their online content is packed, busy and professional. The photoshoots with interviewees are glossy and eye-catching; the questions insightful and interesting – it is great reading the interviews they do and the artists they put under the microscope. You can tell there is some serious passion among the staff and everyone puts their heart into it. Having sites like that is inspiring to me. Although I do things on my own – and forgive myself the odd grammatical mistake and less-than-trouser-bulging article – I have been compelled by the leading websites who are also keeping print media alive. I would urge you to get involved with someone like DIY and follow what they do on the Internet – get a monthly magazine/paper and have something you can carry around with you.

IMAGE CREDIT: Dork

Dork is another site that is keeping things varied and healthy in music. They have a great website that brings us the best underground and popular music and, like DIY, fantastic-looking interviews. I am struck by their style and the fact they mix something fun and youthful with a serious journalistic ethos and incredible depth. I have also ordered a copy of Dork’s latest print release – it will come next week – but am excited to see what comes and scanning through the pages. I remember the days of Melody Maker and going down the shop and excitedly scooping up the latest edition. I would revel in all the big interviews and the big news of the day. Maybe that is nostalgia talking but that sentient feeling and connection is why my love of music has endured for so many years. This is not me going down the garden path of memory and remembrance: I want to keep things in the present and show why it is essential we do not discount the physical editions out there. Dork – whether you put it in lower or upper-case... – is one of the more striking and informative websites that is abreast of all the latest happening and artists. DIY and Dork are two great D-worded sites that produce fantastic magazines that you can take around.

IN THIS PHOTO: Jenny Wilson/PHOTO CREDIT: Oskar Omne (shot for Loud and Quiet)

Maybe it is a bit inconvenient having to wait for the thing to appear and paying a bit of money to get it into your hands – why do all of that when you can get it all for nothing?! To me; the best balance is having that monthly copy and getting daily news on the website. Loud and Quiet is another site that has a great hard copy available for music’s most devoted and devout subscriber. I am struck by the visual aspects of music and how journalism can be raised with brilliant design and concepts. That might sound shallow but in an ever-moving and modern time, we are looking for something to strike the mind and captivate the senses. The publications I have mentioned pride themselves on great journalism and keeping things visually-stimulating and bold. The images I have used from these sites (not for commercial interest) show the work they are doing and the quality out there. One gets that first-hand, arresting visual aspect when they get a lovely magazine/paper in their hand. Loud and Quiet is different in tone to say, DIY and Dork, but they all have something in common: ensuring people who question print media are silenced and given food for thought. A reason I am pursuing music journalism with greater ambition is the way certain websites are upping their game and retaining the traditional spirit of music media.

PHOTO CREDIT: Unsplash

I plan on putting together a music T.V. show and producing something that mixes the legendary Old Grey Whistle Test with something modern and music magazine-like. I am also going full-time – or as close as possible – on my blog and trying to make money from it. The appetite for music is at a high and, with the rise of new musicians and the openness of streaming services; more and more promising acts are coming to our ears. In past years; the music we heard on the radio and T.V. was the big stars and those with record labels. Now; every corner of the globe produces artists who can make music from their bedroom or produce stunning works without a label deal. There are other websites who produce physical editions but I wanted to highlight three I am turning onto right now. Away from these sites, the likes of MOJO and Kerrang! have that balance of online and print. Some have called into question the cardiology report of the music press and wondering whether their time is up. Websites are growing at a brisk rate and there are countless blog options for all your musical needs. Whilst the best and most fascinating are good for all your daily desires; having something printed and traditional is invaluable. If the sites who produce physical editions keep true to their spirit and react to the needs of their consumers then there is no reason they cannot exist for years.

IN THIS PHOTO: Peace/PHOTO CREDIT: Dork

Paying for such a thing can be divisive: it is only fair people pay to have something other people have worked hard on. My copy of DIY cost four of my English pounds and the Dork I expecting to come through my door is in the same ballpark. I would say that is a drop in the ocean when you consider the information you get and all the cool new sounds reviewed and featured. Many new artists actually prefer music magazines and papers as opposed the Internet equivalent. The thrill of seeing their faces in print and having something they can show to their friends takes them back to a classic and wonderful time for music media when the biggest magazines excited music fans and featured the biggest artists of the day. I will leave things here but, in addition to checking out the sites/magazines I have already mentioned; do a bit of surfing and investigate the range of blogs and music websites out there. Music media is not struggling and on its last legs: its heart is strong enough and able to pump enough blood to the body and brain. By that; I mean it is able to satisfy those who want something printed and monthly and provide of-the-minute news and reviews. Let’s hope that desire for printed media continues and we continue to foster and support those people producing fantastic and detailed work. Following that DIY deliver through my door; I am now going to regularly subscribe and get a new edition every month. It takes something as simple as a single edition to spark that loyalty and open up new horizons. If we do that, then who knows what will happen in the future. Far from being endangered and struggling; the music press, right now, is impressively resolute, passionate and…

PHOTO CREDIT: Unsplash

WITH everything to play for.

FEATURE: False Prophets: Kanye West and the Latest Controversy

FEATURE:

 

False Prophets

 IN THIS PHOTO: Kanye West/PHOTOS: Getty Images/Press

Kanye West and the Latest Controversy

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BARELY a week goes by…

without Kanye West getting his face in the news for some outrageous comment or other! This latest misstep concerns his views on slavery: West stated slavery was a choice and the centuries-long imprisonment was a result of, in essence, poor mental resolve and a lack of strength. West, himself, calls himself a free-thinker and someone who is adding a new perspective to the issue of slavery and why it continued for so long. To be honest; nobody needed anyone to wade in on the topic and add their voice. Being provocative is all part of what Kanye West is about: going that far and calling slavery a ‘choice’ was met with condemnation and attack. West was on TMZ when he made those unwise remarks regarding slavery – host Van Lathan was quick to push against West and call him on what he said. West is a well-known supporter of Donald Trump and, so, one can hardly be surprised he’d make such idiotic remarks. It is hard to shake off West’s latest remarks as arrogant and insignificant. In the past, he has spoken in egotistical terms and, basically, elevated himself to the status of God. Now, making such stupid observations about slavery has whipped up a storm and offended millions. Users on social media have struck against West and questioned his motives for saying what he said.

He was, in essence, accusing the enslaved black population of lacking a strong mind and choosing their fate. Far from blowing away a casual and insignificant remark; it has caused many to questions whether Kanye West needs to be silenced. It seems that he is on the wrong side of the general population on a weekly basis: the man cannot get enough of stirring things up and doing what he feels is ‘right’. It is all part of his free-thinking, liberal mindset: in essence, it is a flimsy excuse for bull-shit*ing and not having any consequences. Every artist should be a role model and set a good example. There has been a lot of controversy and unrest in music. Behind the scenes, there are accusations of sexual assault – male artists and bands under the microscope – and we need to ensure there is as little trouble as possible. Music is here to inspire and lead the way. West is allowed to have a say but when that extends to incredibly misguided sentiments regarding the slave trade – do we need to place a permanent silence on him? One wonders whether people are queuing up to interview the man, simply to get something juicy on tape. Given this latest stain; let’s hope there are more rigorous decisions when it comes to booking West.

It is a shame a man who has created such incredible albums as Late Registration and Yeezus should sully his name. There seem to be those two sides of the coin: the musical innovator and pioneer; the non-thinking, controversy-courting man. One has no right to tape Kanye West’s mouth and insist he does no further interviews. If we were in a workplace and someone told a colleague that slavery has endured for so long because of poor mental resolve; they would be hauled in front of H.R. and, more than likely, been given their marching orders. Now, with musicians, a Twitter slap on the wrist and we all forget about things. Smaller bands and acts, if they cause trouble or say something stupid, risk having their record deals terminated and gigs pulled. What repercussions will come the way of Kanye West?! The man is far too lucrative to have sponsors pull their deals; his record label will not dump him – his fans will stand behind him and things will carry on. I realise this is not the worst thing one can say: there has been some bigger missteps and West was not spitting malice and yelling when he made those comments. My concern comes when we look at the fallout and how situations like this are controlled.

If a big artist feels they can get away with something that stupid and carry on their lives as before; we have to query whether music is being harsh enough on those who take big risks. West, as you will know, if not going to sober himself and have this big conversation. The man is all about saying what he wants and feels it is part of free speech and expression. The near-universal criticism he faced should give him cause when next he does an interview. I am not happy the man might put his foot in the mouth like this again. What I do want to see is some realisation there are boundaries and limits with what people can see. Musicians, no matter how large, do not run the business and are not beyond punishment. This is not their fiefdom and they need to be conscious of the damage any ill-judged comments can have. Maybe we will see more music from West this year but I wonder whether the promotional duties will involve stepping up the game and getting even more ‘free-spirited’ – and, whether people will actually want to buy his music. It is a shame because, as I said; the man really is an innovative and necessary presence in the industry. He has come through the latest outrage with his reputation slightly damaged – not a lot more has happened. This might sound unfair to smaller acts who have lost a lot more because of something relatively insignificant. If we are going to create a fair-minded and level playing field in music, we have to treat everyone the same and not rely on the juror of social media to decide what punishment an artist deserves. Labels and higher-ups need to show boldness to eviscerate their artists and send a message out. If they don’t – I assume West’s people did nothing more than tut – then it could lead to an artist, West, perhaps, saying something that causes a lot more harm…

THAN we have just seen.

FEATURE: The May Playlist: Vol. 1: The Hunger Is Growing

FEATURE:

 

The May Playlist

 IN THIS PHOTO: Florence Welch/PHOTO CREDIT: Tom Beard/DESIGN: Brian Roettinger

Vol. 1: The Hunger Is Growing

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ANOTHER single from Florence + the Machine…

IN THIS PHOTO: Jess Glynne

is out and it has got people excited – wondering what we can expect from her upcoming album, High as Hope (out on 29th June). Hunger has been released to the world and, with it, chattering tongues and excited voices are activated. In addition to that big release; there are fresh singles from Róisín Murphy and Jess Glynne; Tom Tripp and Spring King – albums from Leon Bridges and The Slow Readers Club.

This (Bank Holiday) weekend is going to be a hot and humid one: it is as well we have the music to back up that warm and sweaty weather! It is a great start to May and is guaranteed to get everyone in a better mood…

AL PHOTOS/IMAGES (unless credited otherwise): Getty ImagesHEADER PHOTO: Tom Beard/DESIGN: Brian Roettinger

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Florence + the Machine - Hunger

Jess Glynne – I’ll Be There

PHOTO CREDIT: Nicole Nodland

Róisín Murphy – All My Dreams

Troye Sivan – Bloom

Benin City – Bus

Young Fathers – Toy

Tom Tripp – Loving You More

PHOTO CREDIT: Hollie Fernando Photography

Spring King – Animal

Peace - You Don't Walk Away From Love

Amber Mark – Love Is Stronger Than Pride

Dagny – That Feeling When

Dirty Projectors – Break-Thru

Christina Aguilera (ft. Ty Dolla $ign, 2 Chainz) - Accelerate

Plan B – Wait So Long

The Interrupters – She’s Kerosene

Jennifer Hudson – I’ll Fight

YUNGBLUD – 21st Century Liability

Elohim - Half Love

 

Jessie Reyez – Body Count

Drenge – This Dance

Jimmy Eat World – Love Never

Aquilo – Seagull

Emma Blackery – Agenda

Johnny Borrell – My Life, Your World

PHOTO CREDIT: Stew Capper

The Modern Strangers – Nothing on You

Natalie Prass – Lost

Grace Carter – Saving Grace

Mogwai – Donuts

Manic Street Preachers - Hold Me Like a Heaven

Beach House – Black Car

PHOTO CREDIT: Chris Eckert

Eleanor Friedberger – It’s Hard

Frank Turner – Be More Kind

Gaz Coombes – Wounded Egos

MØ - Nostalgia

Jon Hopkins – Emerald Rush

Leon Bridges – Georgia to Texas

The Slow Readers Club – On the TV

Tove Styrke – Sway

Kacey Musgraves – Space Cowboy

FEATURE: Return of the Four-String Sting: Songs That Highlight the Power of the Bass Guitar

FEATURE:

 

Return of the Four-String Sting

 ALL PHOTOS: Unsplash 

Songs That Highlight the Power of the Bass Guitar

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THERE is that running joke where the bass guitar…

is seen as the slightly unathletic kid who is picked last in the playground. Once the smoking and rebellious electric guitar is picked; the next selection is the muscular and stern percussion. Then, you have the striking and popular singer that is a natural teammate. Then, when you have picked the sought-after kids; you scan around and look for rank-and-file people to complete the team. Bass guitar, sadly, is left until the end - seen as a bit of filler. I know many musicians who rate the bass and wield it to great effect. Whilst few of us ever do an epic ‘bass solo’ to songs; it is that crucial part of the song mix and has been responsible for elevating merely great songs to heavenly heights. Whether it is funky finger-picking and some beautifully nimble playing; a strident and ambitious bit of bass strutting – it infuses the song with melody, rhythm and physicality. It can drive a song and galvanise other players; it can bring new light to a piece and, if given the chance, stand out alone and steal the spotlight. I have selected some songs, from various genre and periods, which show how essential and underrated the bass is. I hope the collection of songs makes people rethink their priorities and realise the kid that always gets picked last is, in fact, rather…

SPECIAL and integral.

FEATURE: Bavarian Forest Sonata: The Artists Pushing the Limits of Sound

FEATURE:

 

Bavarian Forest Sonata

 PHOTO CREDIT: Unsplash 

The Artists Pushing the Limits of Sound

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SO much of what we hear today…

IN THIS PHOTO: Kamasi Washington/PHOTO CREDIT: Press/Getty Images

is all about forcing notes down the throat and sort of ‘getting to the point’. They say people can judge a song in the first thirty seconds: after that, they will stay with it or skip onto the next one. At a time when we are streaming music and buying albums in digital form; we tend to pick and choose our songs based on the first few seconds and whether they strike a chord. People buy albums but we are much more involved with single songs and browsing the full library of music. Even if we do buy a record; we tend to have our favourite tracks and gravitate towards certain tones. Pop music is changing and, even though it will not relinquish its spot in the forefront; the style that is being projected by its biggest newcomers has altered. More mature and inward-looking artists are writing about personal anxieties and pressures: we have more traditional Pop numbers but the whole music is changing, in fact. Even if there are shifts happening in every genre; there is still that thirty-second-rule: get the people hooked, either by energy and hooks or something beautiful and meaningful. Because of this, I am seeing that dependence on vocals and the power of the voice. Lyrics are important but, largely, we concentrate on the vocal and what it can deliver.

Even when we are hooked to the music – a chunky riff or pulsating percussion; some great, electronic rush or coda – we rarely get chance to indulge in the music and get blown away. Maybe we are less patient as a people or prefer our music tighter and less experimental. I want to mention a few artists: Kamasi Washington, Hannah Peel and Goat. The latter is a Swedish fusion group whose current album, Fuzzed in Europe, was met with critical acclaim. The single, Let It Burn, has been doing the rounds on radio and is a fantastically imaginative and galloping work with its tribal drums and epic build. It has the sound of a modern-day Progressive-Rock song. The way it goes through phases and grows larger and more animalistic. Goat have created something that relies on compositional brilliance; taking the listener somewhere wonderful and producing one of the finest singles of the year so far. You listen to a song like Let It Burn and you can feel that cinematic and dramatic sensation. The song was specifically written for the climactic scene in the short film, Killing Gävle. The six-minute-plus fuzzed-out gem has those rollicking drums and ‘fuzzwah’ guitar sounds; a bit of fuzzy bass and epic flute breakdown. Leading to the string-heavy final; it is a biblical and staggering thing that does not need to rely on layers of production and vocals.

IN THIS PHOTO: Hannah Peel/PHOTO CREDIT: Getty Images

Another artist, Hannah Peel, used brass and Classical elements in her music. Whereas Goat’s latest track is primal and urgent; Peel opens up more and creates something spacey and intergalactic. Her 2017 album, Mary Casio: Journey to Cassiopeia was a critical success and is a seven-track release that takes us through the cosmos and provokes images of the stars, planets and galaxies. It relies on the imagination and the listener’s willingness to succumb to the music. It is hard to say what genre (the music is) but the Northern Irish artist has taken Electronic music in new directions. The songs, or ‘movements’, use traditional colliery brass and it explores one person’s exploration to outer-space. It is documents an elderly, pioneering Electronic music stargazer and her lifelong dream to leave her Yorkshire home in Barnsley and see Cassiopeia. The record was recorded live in the Barnsley Civic and combines analogue synths and some incredible brass. One listens to the song and you are immersed in the soundscapes and wonderful twists and turns. It is a physical experience; Mary Casio: Journey to Cassiopeia takes the listener by the hand and brings them into this starry, magical world. It does not need to rely on voices and traditional guitar-bass-drum combinations. I have heard few composers like Hannah Peel who can take brass and Electronic sounds and make them accessible and wonderful. Maybe there are a few likeminded artists around right now: I have not seen anyone who possesses the same imagination and brilliance.

Heaven and Earth is the upcoming album, a sixteen-track release, and will be out towards the end of June. It is his first new album in a few years and shows he has lost none of his step. Fists of Fury is the lead-off track from the record and has been getting some radioplay right now. The fact it is over nine minutes means few will regularly play it. No matter, though; the song is a stunning and expansive work that features choral vocals and spirited horns. It is hard to put into words – you can hear the song a bit further down – and is proof Washington is among the finest composers and musical minds we have right now. If Hannah Peel is bringing Electronic music to new worlds; Goat are doing something radical with drums and more conventional instruments/genres – Washington is bringing Jazz to new heights. There are those who turn their nose at up at Jazz music and feel all of it holds no merit. I am not a huge fan of the genre but have always appreciated how the masters of the form can settle the mood and elevate the spirits; seduce the mind and get the blood rushing – sometimes, in the space of a single song! Kamasi Washington mixes the more ambitious and epic moments of Miles Davis but, in reality, stands out in a league of his own. It will be interesting seeing how Heaven and Earth will be received.

There are some great artists out there but, to me, there are few as scintillating and mesmeric as Nils Frahm. So far, I have brought you wonderful Swedish, British and American music: let us bring a German genius into the mix. One of my favourite discoveries is Frahm and his brilliant album, All Melody. It was released earlier this year and is another record that has picked up rave reviews. This year has seen some immense albums – everyone from Goat Girl to Kasey Musgraves – but they are more of what you’d expect from modern music. Frahm is someone who works with Electronic music but is a modern-day Classical composer. He can do dramatic and stirring: it is when he is at his most romantic and tender the shivers start and the jaw drops. Listen to a song like My Friend the Forest (below) and you can see what I mean. Frahm is an unconventional composer who mixes grand and upright piano; a Roland Juno-60 and Rhodes piano with Moog Taurus and drum machines. It is the way he manages to blend keys and Classical periods that amazes me. A song like My Friend the Forest is so sparse and open. You can hear him pressing on the foot pedal and the odd clatter and hiss of the tape; it is as naked and revealing a performance as you will hear all year.

Forever Changeless and All Melody are tracks that play with sound and mix styles with incredible conviction and brilliance – the latter is an Electronic number that departs from what one might usually expect. You’d think an album that pushes those contrasts and extremes together would not work and hang together. Everything flows purely – the only minor fault is Frahm’s treatment of the human voice and how it is less effective than anything else on the album. I have highlighted these artists because they rely on compositions and throw few vocals into the mix. We often listen to music and know what to expect. There will be vocals at some point and lyrics we can learn from; the songs are usually quite short and, when it is over, we can move onto something else. How many of us take the time to sit down and engage with a song that runs a little longer and emphasises compositional elements? It is no coincidence that Goat’s new single is being tipped as a year-best; Kamasi Washington is being hailed as a pioneer – musicians who go the extra mile and change the rules. I have only mentioned four artists but they represent a wider point. Many of us overlook sonic pieces and artists who engage the imagination and suck us into their worlds. I am obsessed with sound and, in a scene where we want something quick and familiar; these are the artists who rebel against that and produce mind-melting, knee-buckling works. Take a moment to think about the music we listen to and whether we take time to investigate musicians who place emphasis on composition. Take a listen to the songs included in this piece and try and argue against the fact that they are wonderful…

IN THIS PHOTO: Nils Frahm/PHOTO CREDIT: Getty Images

WORKS of brilliance.

FEATURE: No Teasers, Please: Why Arctic Monkeys’ Plan for Their New Album Is a Stunning Move

FEATURE:

 

No Teasers, Please

 PHOTO CREDIT: Getty Images 

Why Arctic Monkeys’ Plan for Their New Album Is a Stunning Move

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THEY tease and tempt us with their alluring promise…

PHOTO CREDIT: Unsplash

and bounteous, luscious potential. We are all eager to rip into Arctic Monkeys’ new album, Tranquility Base Hotel + Casino. The record is out on 11th May and is the Sheffield band’s sixth album. The group exploded onto the scene back in 2006 and, since then, have established themselves as one of the most essential and intelligent acts we have ever produced. There was a lot of speculation as to who the band were back on their debut – a bit unknown and, on their 2006, we asked Who the Fuck Are Arctic Monkeys? What usually happens after a five-year gap – they released AM in 2013 – is the record label hurries around and gets all their plans together. We normally have a little teaser video and that announcement of an album. Then, after that, comes the first single that is played to death on the radio. When we have all been exposed to that song, a few weeks later, there are plans to unveil the second single. We might hear four or five songs from an album before the actual thing is out! It is understandable a record label would want an album promoted as much as possible and to get it ahead of the competition. Most of us are used to the process and it is the way things are done nowadays. I get a bit bored of that cycle because, after you have digested those songs, you are either sick of that album or tired of the artist.

When you do get the album; you know those set of songs well and the other half (of the album) is new. It can seem rather disjointed and two-tone when you have these well-played and worn songs alongside the foreign cuts. Maybe you skip those singles you have heard and investigate something new. In any case; one is always a little bored about the endless build-up and circus around an album. In the case of Arctic Monkeys; the circumstances around Tranquility Base Hotel + Casino are unique. The band have come back after that five-year pause and they are releasing one of the most anticipated albums of the year. Their plan is to keep all the material private until 11th May – that is when you can experience an album in its entirety. This is a bold move for the band – one that DIY, having already reviewed the album, explained... – that will get some raised eyebrows:

“To cut to the obvious chase, the quartet’s long-awaited sixth is like nothing they’ve done before. An Alex Turner solo record by any other name, its 11 tracks run largely on the singer’s affected croon and a newly-discovered love of the piano. Rarely do guitars make a pronounced appearance, save for the ominous notes that open ‘Golden Trunks’ and a few slinking bass lines on ‘She Looks Like Fun’ and ‘Four Out Of Five’. What powerhouse drummer Matt Helders is going to busy himself with during live shows, meanwhile, is anyone’s guess…

 PHOTO CREDIT: Getty Images   

An album that only even begins to click after about the tenth listen, Arctic Monkeys’ sixth is the kind of eyebrow-raising curveball that could still yet lead to brilliance. Every maverick has to risk it all in pursuit of the new at some point. But there’s still something a little sad about having to try so hard to fall in love with a record from a band who’ve always made devotion so easy. Who the fuck are Arctic Monkeys? It seems only time will tell”.

It seems the new arrival from Arctic Monkeys is not what anyone expected. More an Alex Turner solo album or strange concept record – the full review shed more light – it seems like one of those albums that will get retrospective acclaim and understanding. Maybe that is what the five years have been about: brewing something that departs from the predictable path we expect and takes the band in a new direction. This is not the only time a big-name act has unveiled an album without a single coming from it – or dropped it straight out of the blue. Radiohead, in 2007, did it with In Rainbows; Beyoncé released her fifth solo album in 2013 without much knowledge; Kendrick Lamar’s untitled.unmastered arrived in 2016 and took us all off-guard. Labels love the build-up and normal procedure because it is all meticulous and allows them to test the water and see what reception the album will be afforded.

PHOTO CREDIT: Unsplash

I guess smaller artists do not have the cachet to do a surprise release and subvert the desires of labels and the public. In a way, Arctic Monkeys have created more excitement and fever with their new album. Even though the first review – the one I can find – is a three-star thing (the writer unsure whether Tranquility Base Hotel + Casino is a masterstroke or a confused work); that might be the story of 2018. All the artists who promised big, scene-shattering albums (including Jack White) have sort of come short and not really fulfilled their promise. Every artist reaches a stage where they change things up and go in a new direction. It would have been easy for Arctic Monkeys to release the long-awaited single and the Internet to jump on it. Given the fact their latest album is a concept and a bit of a left-turn; there might have been criticism and the songs might seem unusual and under-nourished out of the context of the album. It seems like all the songs need to be heard together: Tranquility Base Hotel + Casino is an experience and cinematic piece, it seems. A director would not release five-minute sections of a film before it comes on release. They put out trailers but you do not portion out a film before it goes into the cinemas. Music is unusual in the way it is released and promoted.

IN THIS IMAGE: The album cover for Arctic Monkeys' AM/IMAGE CREDIT: Getty Images 

Arctic Monkeys have had people breathing down their necks and been keeping us guessing for a while now. 2018 is there year and, because of that, they had the choice of whether to do a standard release – all the singles and interviews – or put an album out there and let people enjoy it. Their decision takes my mind back when I was a child and experiencing music. Sure; there may have been a single or two floating around but it was not unusual for a big act to release an album without any singles coming out. They wanted the public to enjoy the entire thing and, in essence, buy the record! People could listen to an L.P. in its entirety and get a much better picture of its sounds and themes – without the subjective and misleading influence of drip-feeding and slow-build. Maybe it is a generational thing: many younger listeners like getting songs before an album’s out and getting to witness this event and process. It depends on tastes, I guess, but I am more bonded and committed to a record if I have to wait and witness the music as a single thing. One of the reasons I was a bit disheartened listening to Jack White’s Boarding House Reach was I heard several of the songs at different stages. I then god the album and was listening to these familiar tracks alongside new ones.

PHOTO CREDIT: Unsplash

I had, in essence, heard the best from the record and was hearing music that didn’t really match what was already out. There is no guarantee my perception of the album would have been different had there been no singles from it. Arctic Monkeys have Tranquility Base Hotel + Casino out and, forgive them, they do not want to give too much away. I feel other bands and artists should take a bold approach like this. It is always risky doing this kind of thing if you do not have a salivating fanbase and that commercial profit. Arctic Monkeys, back on their 2006 debut, were already known and people had heard their music. They did not embark on the streaming flow – sites like YouTube were brand-new then – and would not have been able to ignore the promotional process if they were new in 2018. I would, mind, like to see more artists stepping away from the routine and ever-lasting routine of releasing songs one-by-one and, by the time the album comes out; we have heard half the album and it is all rather staid. Regardless of how critics receive Tranquility Base Hotel + Casino on 11th May – it looks like it could be that classic three-star record – it has been worth the wait and patience. People do not know what to expect and, for the first time in years; we are actually looking at reviews and learning about an album’s content in traditional ways. It is a shame the hard copy of NME is no longer around: a write-up about Arctic Monkeys would have been a perfect reason to buy the magazine and digest the review. Let us embrace artists who want to defy the normal and take music back to its basic brilliance. I am looking forward to Tranquility Base Hotel + Casino and am interested to see how Arctic Monkeys have evolved: going from tundra-walking primates to a spacey, casino-based bunch of blokes. Maybe it will balkanised and divide the fans but, in true Arctic Monkeys style, their new album will be anything…

PHOTO CREDIT: Getty Images

BUT boring!

FEATURE: A Big, Beautiful Aberration? How the Return of the Legendary, Era-Defining Band Is Dividing the Internet

FEATURE:

 

A Big, Beautiful Aberration?

 PHOTO CREDIT: Rex 

How the Return of the Legendary, Era-Defining Band Is Dividing the Internet

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IF one were to compile a list…

PHOTO CREDIT: Anders Hanser/Premium Rockshot 

of the unlikeliest eventualities and happenings; you’d probably put the resurrection of King Richard III above the news we heard this week: ABBA are reforming, it seems! Whilst some have mooted this might be a full-on reunion and return. It has been thirty-five years since the band split and recorded music – I was born in 1983 and, as such discovered the Swedish group retroactively. The band claimed nine number-one hits in the U.K. from 1974 and 1980 and are (rightfully) regarded as one of the finest Pop bands we have ever seen. Maybe, I guess, The Beatles have enjoyed better success and popularity – ABBA have not done too badly for themselves! There have been repeated suggestions and rumours the group would record together – all refuted and dampened soon enough. This time, it is not a drill: one of the two new songs they are recording, I Still Have Faith in You, will be featured in a T.V. special this December. In a statement; the band had this to say:

“The decision to go ahead with the exciting Abba avatar tour project had an unexpected consequence. We all felt that, after some 35 years, it could be fun to join forces again and go into the recording studio. So we did. And it was like time had stood still and we had only been away on a short holiday. An extremely joyful experience!”

Björn Ulvaeus revealed the details and, with it, sent the Internet into hyperdrive! Although the band are recording new material and are ‘back’; it seems the extent of their reunion will be a little limited – they will appeal on a special (by NBC and BBC) as computer-generated avatars; they will be ‘de-aged’ to look like they did in 1979. It all seems a little peculiar, I guess: the thought of them not really being there takes a little away from the hype and excitement. Alexis Petredis, reacting to the news, looked at their legacy and how they managed to gain a lot of success after their breakup:

“The first time around, Abba were not taken seriously as artists. The general critical consensus was summed up by a photo of legendary US rock writer Lester Bangs, wearing a T-shirt that read “Abba: the largest-selling group in the history of recorded music” and an expression on his face suggesting this was evidence of western civilisation’s imminent collapse.

In the years since they split up, however, their stock has rightly risen to a dizzying altitude. Björn Ulvaeus and Benny Andersson are regularly hailed as the greatest pop songwriting team of their era; the emotional depth and maturity of The Winner Takes It All – and indeed the personal psychodrama behind it – is pored over in a way it never was on release; their relatively overlooked final album, The Visitors, is acclaimed as a kind of Scandi-noir masterpiece. When the BBC made an Abba documentary a few years back, you got the feeling that rock critics and hip musicians alike were queuing up to sing their praises”.

PHOTO CREDIT: Olle Lindeborg/AFP/Getty Images

Those are reluctant and dubious right now are considering what ABBA have provided us and how any new song cannot match the dizzying success and brilliance they reached in the 1970s and early-‘80s. You get this with every reformation and return: the artist will record new songs and they will be nothing like their best; it is pale and, whilst it is nice seeing them back; one wonders whether their music is best left in the past. Björn Ulvaeus and Benny Andersson have given the world such standards as Dancing Queen, Super Trouper and Waterloo – the list is long and impressive. I can understand why purists and loyal fans might not want to see ABBA 2.0. come into the world. There is no way ABBA’s newest song will be THAT good and it is unlikely we will see a full-blown return. They are performing these new songs but it is unlikely the group will continue to record and bring out more records. The members are comfortabl middle-age comfort and they are not the same engaging and wide-eyed band we saw back in the 1970s. Maybe their songwriters have retained their magic with melodies and harmonies: in 2018, when ABBA’s style of music has translated into other artists and mutated; they cannot realistically release material that lives in the past – they have said they have come of age and the new material is just that: it is an evolution of who they were.

I am seeing so many different comments from all ages and corners. If you had to conduct a poll of those who want ABBA to reform and those who fear their return; I would say it would be around fifty-fifty. Although you can claim a lot of their best material came in The Visitors – their final album, released in 1981 – that was thirty-seven years ago. Time has passed and the four members have not been writing and playing together. If ABBA’s news was they were recording new albums and going on a world tour; it would raise questions and some doubts – are they going to degrade their best days and spoil the genius?! The ‘good’ news is they only have limited material out there: a lasting and productive revolution is not a possibility. The other side of the debate have made a great point: any new material from ABBA is a great thing. The fact they have buried their differences and seem, on the surface, to be in a better place is good news. ABBA’s new material will encourage new listeners and the young to seek out the band and their illustrious back catalogue. Most people know about ABBA but the most passionate fans remember them from the first time around – or children of those who grew up with their music.

PHOTO CREDIT: Getty Images

I am pleased they are coming back because it has created a positive vibe and flame on the Internet. It has given people real hope and something to bond over. We are all playing old ABBA number-ones and predicting what their new material will sound like. Few actually think it will be another Super Trouper and take the world by storm. Things have moved on and music has moved to a place where ABBA cannot exist and influence the same way they did in their first incarnation. The sheer attention and ceremony their T.V. appearance will be given will change the music world and bring us all closer to one another. If we do not put too much stock in their new music and expect a Second Coming then few will be disappointed. It will be strange hearing ABBA on record so long after they split. I can understand those who predict lukewarm material and wonder whether that will dent the brilliant music ABBA have given the world. The fact so many people are talking about them and checking out their old music is the best result one could hope for. I know ABBA will now get into the hands of new generations and it will inspire other musicians to up their game and aim as high as the Swedish group. One cannot make any decelerations and arrive at conclusions until we have heard I Still Have Faith in You. I am optimistic the group will release a song that gets into the head and still retains a lot of their bygone magic. I wonder, when they have appeared on T.V., they will discuss a full-time return and make more music. There are naysayers out there that raise their eyebrows: I, for one, would love to see ABBA reform and see…

PHOTO CREDIT: Getty Images

WHETHER it can reach the exhilarating peak of their glory days.

FEATURE: Age Against the Machine: Is the Dominance of Streaming a Sign the Music Industry Is Changing for the Better?

FEATURE:

 

Age Against the Machine

ALL PHOTOS: Unsplash

Is the Dominance of Streaming a Sign the Music Industry Is Changing for the Better?

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TODAY is a day that finds me….

reinvestigating a few areas I have stepped into before. I have been a little ambivalent towards the role streaming services are playing in the music industry. One of the reasons I am reversing my policy is the way it is rejuvenating labels and doing wonder for new musicians. Alongside the rise and takeover of streaming services; vinyl is still holding strong and we have not completely lost out affection for physical music. I will bring in a couple of articles that look at streaming and how the market is changing. Another reason why I have been imperious when faced with the sea of digital music is the way one forms memories. I do not feel I would have such a vivid and undying attachment to music were I raised through the Internet. The nature of holding music and having something tangible has produced sentient memories and a life-long obsession with the form. Whilst I believe there will be fewer diehard music fans in years to come – who have the same memories and broad tastes – I will concede there are obvious advantages when looking at streaming services. Smooth out issues around paying artists (some, in the past, have not compensated fairly) and it means we are able to give a real market to new artists. Look back a few years ago and it would not have been possible to provide opportunities to unsigned acts.

The only way their music could make its way into the public forum was, well…I am not sure it would have been possible. Now, any artist can get their sounds into the world and earn money. In 2018; streaming revenue and profit have overtaken physical sales – we are spending more on digital downloads than ever before. This is good news for the future of music. I am still nervous that, one day, we will say goodbye to the humble C.D. and see vinyl’s role in the world reduced. Can we really say that the streaming growth has dented music and meant that artists and labels are suffering?! I look back at an article from the end of 2016 and some clear facts come to mind

“Five years ago, the demise of the music industry seemed almost inevitable. Recession, rampant piracy, falling CD sales and a fear that “kids just don’t buy music any more” had giant record labels, once oozing wealth, counting the pennies.

Yet 2016 has seen a reversal of fortune – and the industry’s saviour is not what many predicted. Profits from music streaming, first championed by Spotify and now offered by Apple and Amazon, have given some labels their largest surge in revenue in more than a decade.

At the beginning of December, one of the world’s biggest labels, Warner Music, announced revenues of $3.25bn (£2.66bn) this year – its highest in eight years. More significantly, $1bn of that was from streaming, more than double its download revenue and more than $100m more than its physical revenue.

The surge in profits is being seen across all the major labels. In the first half of 2016, streaming revenue in the US grew by 57% to $1.6bn, and worldwide digital revenues overtook those from physical sales for the first time in music industry history, mainly because of streaming. This year’s most-streamed artist was Drake, with 4.2bn streams”.

Maybe, in a way, streaming availability is helped keep physical sales afloat. You cannot contest that the reason why so many people are buying vinyl is that they can hear albums online! I have dug back into the crates of music and played a record like Tusk (Fleetwood Mac). It sounds good coming out of my speakers: it sounds even finer crackling from the turntable. I feel we are more informed as a consumer nowadays. When we only had radio and record shops; we often made our buying decisions based on the charts and what specific D.J.s deemed worthy of focus. Now, in a busy market; we all have more options available and a wider range of music at our feet. Radio plays a pivotal role in the way we buy music – streaming allows us all to become more investigative and curious about artists. I have a paid Spotify subscription and will happily continue that. I feel guilty streaming and accessing music for free: everyone should be made to pay a subscription so that artists are fairly remunerated. Is there, however, still issues around royalties and how much every artist gets? Following Spotify’s announcement to go private; I read a Rolling Stone article that raised some interesting points:

“Spotify's plan to go public, filed last week, could generate $23 billion and make the world's biggest record labels hundreds of millions of dollars richer — but the Swedish streaming giant has yet to soothe grumbling and litigious artists and songwriters who say its royalty payments are unfairly low. "They rigged it so they don't pay the artist," David Crosby tells Rolling Stone. "I've lost half of my income because of these clever fellas. I used to make money off my records, but now I don't make any."

Spotify's response to these types of criticisms has been the same for years: The service has paid more than $10 billion in royalties to artists, labels and publishers, according to its modified initial public offering, and the company has helped save the record business from online piracy. "Spotify was founded on the belief that music is universal and that streaming is a more robust and seamless access model that benefits both artists and music fans," reads the 260-page filing. Adds Jim Caparro, former president of Island Def Jam Records: "The winds of Spotify are blowing in the right direction for the music industry."

If Spotify's modified IPO generates anything close to $23 billion, Sony Entertainment, home of Beyoncé and Bruce Springsteen, could generate an estimated $1 billion-plus, and rivals such as Warner and Universal could make almost that much. All three major labels have pledged to share this windfall with their artists, but it's unclear how that will play out. "Nobody knows," says a source at a major label. "People say, 'Well, it's easy, you take the usage on the platform from the beginning of the service and you allocate it based on that.' But if Bruno Mars is driving the majority of recent usage, are you going to just write a huge check to Bruno Mars? This isn't easy stuff".

I have looked at streaming and its rise in a simplistic manner: feeling access and availability is the most important factor. If you think about the words expressed above; are we seeing an unfair distribution of royalties? If millions stream a Bruno Mars song and very few do the same with a Thom Yorke solo track; does that mean we are encouraging a disparity and wage gap? It is only fair, I guess, a popular artist is paid fairly and they are allowed to benefit from their fans. What worries a lot of artists is the gulf we are seeing in terms of streaming rewards. Should we, instead, take a more balanced and equal stance? Instead of paying artists in terms of total downloads; cutting the cheque so that everyone gets the same amount might be better? It is clear the new wealth of sites like Spotify are hiding rats under the floorboards. I love that I can pay a subscription and have access to a whole world of music, present and past. One can never know whether artists are getting paid fairly and whether new artists are getting as much from it as they should. My experiences regarding feedback have been somewhat mixed. Many artists feel streaming services are a lifeline in the modern age. Gigs are harder to come by and many venues cannot afford to pay them – they might kick in for petrol but that is where the till starts to close.

By having your music on a platform like Spotify – and pushing people towards it – that means you can guarantee a constant flow of cash. The actual reality is that no minor artist will get as much as they deserve. Reading another article from Rolling Stone and the boost and success of streaming services still is not at the level we should be seeing:

“…While streaming services have boosted music revenue to levels not seen in a decade, it remains 40 percent below peak levels, with digital and physical recorded music sales continuing to decrease. There was a 25 percent drop in digital downloads revenue, which came in at $1.3 billion in 2017. Although physical product revenue exceeded that of digital downloads for the first time since 2011, shipments of physical products declined by 4 percent to $1.5 billion”.

The argument complicates the good news we have been promised. It is true streaming is succeeding and major labels are flourishing; more and more artists are finding success and profit on Spotify – there are other streaming services available – and competition is forming. YouTube have announced they are going up against the likes of Spotify and iTunes. This recovery and success should be seen in pragmatic terms: the race is not over and it does not mean C.D.s and vinyl are a spent force. I feel, so long as we can maintain the success of streaming sites and ensure artists are paid fairly, we can all benefit.

I do not feel vinyl will end its life and decline anytime soon – I hope C.D.s remain viable for many years to come. I have changed my mind regarding streaming because I feel it is benefitting music as a whole. More and more people are discovering artists they might not have otherwise had access to. It is providing homes for new musicians and ensuring older artists are kept alive and relevant. Radio does that too but, in an age where we are all more aimed at digital outlets; it is not a bad thing we are spending time there and being more curious. One of my reservations regarding streaming was the fear physical music would cease to be and we would feel less need to get out there and visit record shops. Keeping a balance and ensuring artists are not taking advantage of is the most important thing we need to be aware of. I am not completely happy by streaming taking such a hold but know it is the future of the industry. There are multiple benefits and we can get music more quickly and readily than ever before. Anything that means new artists can get their voices heard and raise money can only be a good thing. I will leave things there but wanted to explore both sides of the argument and see where music is heading. If all the bumps and rough edges can be smoothed out; if we study the problems and ensure there is a fair playing field and balanced market; I feel music as we know it is entering an exciting and prosperous stage…

THAT will bring great music to more and more people.

FEATURE: The Mixing Desk: From Social Media to Sociability

FEATURE:

 

The Mixing Desk

 ALL PHOTOS: Unsplash 

From Social Media to Sociability

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ACCORDING to Graham Coxon…

in Blur’s hit, Coffee & TV; sociability, it seems, can be a tricky thing. I am in the position where most of my daily dealings are completed through the Internet. I do not get out to gigs a lot and feel a little disconnected from the outside world. It seems like an odd statement saying, given the people I contact and how much I do; to suggest I am not connected to people is a bit strange. We all get into the routine of social media and spending a lot of our day checking it out. How many of us ever get the chance to switch stuff off and get out into the world?! Many might spend a few nights a week chilling out – many have guilt at being away from their screens. Even when we go out; how many are checking their phones for texts and updates on social media?! It becomes a bit of a hook and crutch, I guess. I have written about social aspects of music and explored it through different lenses. From the difficulty of dating and finding like-minded others to the difficulty of getting out of the house and spending time away from music; we are all a little less sociable than the generation before. I cannot claim the Internet is solely responsible for that reality. Rent prices have gone up and many people do not have as much disposable income as they’d like.

It is challenging balancing work and social time so that we do not neglect the former too much. Musicians are among the most deprived and hard-working in the world, I think. The pressure on their shoulders mean they do not get many hours to get out into the open and forget about things. I know dating and socialising are different things – many of us find the former much harder than the latter. I have pitched a way musicians could date similar-minded folks and shrug off all the pitfalls and heartache of the dating circuit. Having a drink and seeing a gig is a different thing, I know. Even that can be a bit of an obstacle for a lot of people. The more we get addicted to social media and the less time we spend away from the screens; the harder it becomes to adapt to a normal, more sociable life. I wonder whether we have all become too used to a social media way of life. Even the people I know in couples are getting out there less and meeting new people. Perhaps rising prices and a more expensive night out is leading many more to settle in with a box-set and ignore all that is out there. I am writing this piece because I have spent so much time writing on a laptop and have not really got out there and mingled. It is like being an outsider at school: sitting in the corner and watching others have all the fun. The same is true of many other creatives and musicians I know.

The more we engross ourselves in an easier and lonelier existence; the harder it can get when we finally dispense with the distraction and see what is out there. It may sound a bit patronising but, as I suggested a few months back; we can design something for musicians and journalists that sort of ‘eases’ them back into society (that did sound a bit condescending!). Whether we establish a club or a music-themed night; it would be possible to get a lot of similar folks together in conversation. Most of us, in music, go to gigs to see people like us. There is not a lot of conversation when we go to gigs: we are there to see the artists and it can get pretty loud. If we go to bars and clubs; we go with friends and often stick to the same places. It is a lot safer and less stressful getting into habits and not pushing ourselves. What I worry is many of us are unhappier than we were and there is a rising issue around mental-health. Human contact is a good way of easing stress and distracting ourselves from all the strains and demands of the average day. Another problem we face concerns those who live outside of cities. A lot of towns do not have many bars and spaces where we can converse and gather. Cities can be quite daunting and it is hard seeing where we head to find those we can communicate with and like.

I am hearing from a lot of musicians who dedicate their every spare moment to music. They do not want to give it up but, at the same time, feel there is very little opportunity to forget about their jobs and enjoy a night out. What, then, can we do to unite those who do not want to forget about music but still enjoy the pleasures of other people?! For those who want to date or find friends; there are few bespoke areas and avenues they can explore. I keep hearing about failed dates and many bemoaning the expensiveness of a night on the town. Maybe ‘The Mixing Desk’ would be a good name for a chain of, cafes/bars that cater to those who love music. You would have the benefit of being in a comfortable and communal church without all the nerves and annoyances of a crowded and bustling bar. There could be jukeboxes and gigs; a themed décor that mixes classic and nostalgic touches with the modern and fresh. Keeping prices low and the atmosphere accessible means everyone could go and socialise with people who think like them – make contacts and connections whilst enjoying some time to unwind. Even if there was not a bespoke and new venture like this; it is clear we all need to afford ourselves the chance to get away from the distraction of technology. I come back to that feeling of guilt and feeling rather lost if we give ourselves a night or two off.

By offering a transition and space where musicians, writers and D.J.s can converse, conspire and flourish; it eases that sense of guilt and provides a perfect balance of work and socialisation. Maybe there are those out there happy to stay inside and commit themselves to work; others are okay with the patterns they have and the way they are living. I feel there is too much unhappiness and stress bubbling up. We get into the groove that social media is where it is at and that provides us with a real and worthy connection. That view and assumption is a falsehood: it cannot replace the benefits of real connection and bonding with another human being. So many people have work mounting up and, by the time they come home from work; they either have to think about the next day or, if they are a musician, gigs and plans around that take precedence. My entrepreneurial mind often spins out ideas and ventures that could turn into something good. I am one of those who shut the world away and gives little time to others in the world. That is not as a result of being aloof and closed-off: I find I have little energy when I am through doing all my writing. Who knows what will become of us if we all continue down the path we are walking.

Things will get more expensive and we will all get busier and less relaxed. Although a special space is not strong enough to tackle every problem out there. The bottom line is that we all need to give ourselves some more time away from screens and get back in touch with the common man/woman. I am one of those who do not heed my own advice as much as I should. I am finding things getting rather hectic and do not have the motivation to get out into the world and give myself a break. I am not the only one who struggles to get out of that headspace. The more we disappear down the social media hole; the trickier it can be to get back into normal society. That may sound extreme but I wonder whether we start to lose conversation skills and confidence when we spend a lot of time online. Many people in music feel isolated and alone when they go for a night out. Maybe the people they speak to do not have common interests and it is hard negotiating when it comes to conversation. There are so many musicians and talented people who feel the same way about the world but are divided by the Internet. Let’s all give ourselves more credit and put down the digital distractions for a couple of nights. If one were to come up with a specialised music zone where it would house awaiting friends – or dates – and strip away anxieties; I feel that can only be a good thing. At the very least; we need to look at our lives and wonder whether we are as fulfilled, happy and outgoing as we can be – and many of us want to be. When that sort of question is posed, and we struggle for reasonable answers; a rather sobering and troubling answer comes to the fore: we are unable to get out of a rather limited and unhealthy routine. That can change, for sure. With a bit of resolve and necessary effort; all of us can commit to some social time and, when the effects are tabulated and highlighted; the results will be…

RATHER pleasing indeed.

FEATURE: The April Playlist: Vol. 4: Big Account, Small Savings

FEATURE:

 

The April Playlist

 IN THIS PHOTO: Ms Banks 

Vol. 4: Big Account, Small Savings

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NOT every musical week…

IN THIS PHOTO: She & Him

provides a slew of big-buck releases and solid-gold cuts. This week is a little slower but, among the releases this week, there are some great tracks to be found. We have treats from Ms Banks and Janelle Monáe; Chvrches and She & Him; Thundercat and Anne-Marie have released new material – Blossoms also come through with an album that is impressing critics!

Although the weather is a bit iffy and all over the place; there are plenty of great songs out there to get your teeth into – guaranteed to melt the heart, bolster the spirit and get the voice ringing.

ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images

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Janelle Monáe - I Like That

Chvrches - Miracle

Franz Ferdinand - Glimpse of Love (Version)

Blood Red Shoes – God Complex

Aloe Blacc – Brooklyn in the Summer

HONNE – I Just Wanna Go Back

Jennifer Lopez – El Anillo

Sharna Bass – In Love

Ms Banks – Clap

She & Him – He Gives His Love to Me

Thundercat – Final Fight

Anne-Marie – Bad Girlfriend

Blossoms – Stranger Still

PHOTO CREDIT: Holly Blake

Amelia Caesar – I Think We’re Home

Scott Quinn – Run

Shawn Mendes - In My Blood

Machine Gun Kelly - 27

Charlie Puth (ft. Kehlani) - Done for Me

Ace Hood - Testify

Post Malone – Stay

Lily Moore – Lying to Yourself

Ben Howard – Nica Libres at Dusk

Simian Mobile Disco - Defender 

Father John Misty - "Mr. Tillman"

Japanese Breakfast – Dreams (Recorded at Spotify Studios NYC)

IMOGEN – White Lines

Equals – High-Def Retro

Wiley – Still Standing

FEATURE: Earth Day 2018: The Playlist

FEATURE:

 

Earth Day 2018

 ALL PHOTOS: Unsplash 

The Playlist

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IT is Earth Day (today) and we are all provided with the chance…

to think more carefully about our planet and how we treat it. Not only is one expected to reflect on the way the Earth is changing and how climate change/pollution is affecting the oceans and people; we are all urged to embrace what we have and the beauty that is out there. I have been thinking about the day and feel it is even more important, now more than ever, to acknowledge what we are doing to the planet and, well…take more care of her. There have been some insightful and thought-provoking pieces put online regards environmental concerns and how the climate concerns of the masses need articulating effectively by politicians.

I cannot do much to remedy issues we face but, as a music journalist; it is important I have a look at planet/Earth-related songs and tunes that make me think about the natural world – in good and bad ways. Here, then, is a selection of songs that, for me, look at the planet in various ways – from looking at it from space or the intimacies of a woodland or subtle piece of nature. I hope the songs sum up Earth Day 2018 and, more importantly, get us thinking about a world that is becoming more polluted and endangered. It is a shame because, when you think about all it has to offer; it is a pretty spectacular and…

BEAUTIFUL place.

FEATURE: Lottery Winners Die in Southern Motels: A Memory Tapes Playlist

FEATURE:

 

Lottery Winners Die in Southern Motels

 IMAGE CREDIT: Freepix 

A Memory Tapes Playlist

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I have cunningly (read: obliquely) mistitled this piece…

IMAGE CREDIT: Getty Images

to give the illusory impression it pertains to anything other than my musical memories and what stands out to me. The title, in fact, is not quite as clever (read: pretentious) as it might appear on the page. One of my more minor dreams is to have a collection of my favourite musical memories – those that have scored influential and nurturing moments – highlighted and exposed to the public. Others have different memory tapes that soundtrack a romance or a special friendship; others choose to represent a particular year in their life through music – the kind of songs, old and new, that held their hand and sticks in the memory. For me, I am a groove monkey whose musical ‘memory tape’ is less about specific events and relationships: my song selections start from my earliest years and come right near to the present. Each song has significance and has either helped me through a hard time or taught me something about myself. Going chronologically; my first-ever memory was, maybe, around 1986 when I would have been three (making myself feel old and decrepit!) and hearing the drum machine-heavy rush of Tears for Fears’ Everybody Wants to Rule the World. I have told this story before but, on the off chance there are curious ravens swooping overhead; I will briefly recount it.

IMAGE CREDIT: Getty Images

That song counts as the most important in my life because it was the first thing I heard – or remember – and, every time I hear the track; I seem to transport myself back to that early family home when the walls were browner and the hairstyles had a three-foot-minimum height restriction! Moving through my early childhood, and two artists come to mind: The Beatles and Kate Bush. They are heroes of mine but, in the context of my childhood; they both opened my eyes to different sides of music. My family possessed ample stock of Beatles vinyl and had everything from their ‘red’ and ‘blue’ albums – albums that collated their earliest and later work, respectively – and Abbey Road; some Revolver, Rubber Soul and Sgt. Pepper’s Lonely Hearts Club Band. Not only did The Beatles’ albums blow my mind on an artistic front – the iconic covers of Sgt. Pepper’s’ and Abbey Road – but the music, somehow, took me back to the 1960s – when my parents were growing up around them and able to queue outside record shops for their latest gem. Even though Rubber Soul is my favourite Beatles album; it is their debut, Please Please Me, that stands aside. I will not recount its unique recording process – the fact all bar four songs were captured in an all-day recording session – but it seems to be on in the house/car during family trips to my grandparents.

IN THIS PHOTO: The Beatles/PHOTO CREDIT: Getty Images

The shivering and scintillating harmonica notes (from John Lennon) of Love Me Do make me think of visiting my grandparents and those Sunday evenings where I was discovering the world and unlocking new scents and sensations. Songs such as Do You Want to Know a Secret (dodgy George Harrison vocal) and I Saw Her Standing There (fantastic Paul McCartney opener) are still in my mind and on my turntable. The fact my grandparents have been gone for over twenty years (or twenty-five) does not matter: hearing those songs bonds me to them and evokes all the perfume, off-kilter language and familial in-jokes many of us take for granted. Moving through ages ten-sixteen and, as mentioned; Kate Bush comes to mind. She is a musical heroine, for sure, and I even have some of her lyrics tattooed on my arms – the number of heads that tilt to the side on the Tube; futile in its attempt to decipher and recognise their origin – and her debut album, The Kick Inside, is my favourite of all time – many argue Hounds of Love is her best work but they, as you’d imagine, are wrong. Like many (including Caitlin Moran); my vivid first memory of Bush is seeing her in the video for Wuthering Heights; wearing a white dress (that looked like a nightgown) and spiralling to the sounds of her number-one smash. It was on a V.H.S. – maybe, The Whole Story?! – and I would sit down and watch videos from a strange, beautiful and hugely alluring musician (she remains my one and only musician crush). Bush is still someone who resounds in me – it was The Kick Inside that, yes, kick-started that passion; revealing a unique and sensual butterfly who went on to influence everyone from Tori Amos, Florence Welch and Nickelback (might have made the last one up!).

PHOTO CREDIT: Sam Liddicott

Primary and middle-school were hard, and so, music was a companion in every crush-addled blitzkrieg and rose-cheeked embarrassment; the cliques of the playground and the tape-swapping mastication of the playground. In fact, backing it up a smidge and Carole King seems to distil all my primary school experiences into one album: the mesmeric and peerless Tapestry. Like Kate Bush; Carole King’s vocals and sublime songwriting touched me deeper and more profoundly than anything. I was bullied through school and was a little slow, academically. Now, at thirty-five; I know a lot more, comparatively, than I did back then and feel I have come this far because of music and its comforting kiss. Songs like It’s Too Late and Will You Love Me Tomorrow? swam in my hippocampus and seemed to offer friendship, counselling and reassurance: a bespoke and multifaceted isotope that gave me somewhere to retreat and cloister my, sometimes, battered soul within. Music started to play a bigger role between 1988-1999. The last years of secondary school were heightened by the awesome club and Dance music that came out around the time. I had a good life at school but, against all the academia and near-scrapes with the headmaster; it was those music-fuelled memories that stand proud and noble.

IN THIS PHOTO: Carole King/PHOTO CREDIT: Getty Images

One such incident saw a classmate take to a wooden chair – like Rommel saddling up and plunging into action! – and pump the kids up in delirium chorus. The song that blared out of the cassette player – it was the 1980s, remember! – was The Shamen’s smash, Ebeneezer Goode. For all its drug references and controversy – ‘Veras’ and ‘salmon’ slang for, well…not what you’d think – it was a banger that got us all pumped and together. Not only was our school fairly liberal; it was permissive of musical indulgence and the curiosity of children. I will talk about the song that, embarrassingly, seemed to define high school but, keeping it around the period; Dance music and popular hits fused and entwined. I was discovering Madonna and, with it, an empowered and bold female artist who taught me more about women and femininity than any textbook and hopeless crush. It was, however, a crush that ends the final memories of middle school. My late grandfather built a go-kart back in, I think, the 1980s and gave it to me as a present. It was black and you could pedal it; it has a stand on the back so we could get someone with a cassette player blaring as I/my friends pedalled. I was a bit smitten with a girl – who shall remain nameless; less she vomits at the mere recollection – and several artists helped me negotiate awkward conversations and innocent playfulness – when we would climb trees, explore woodland…and many other things Tom Sawyer would get up to if Huck Finn was in the mood for motivation.

IN THIS PHOTO: Michael Jackson/PHOTO CREDIT: Getty Images

Michael Jackson was a huge influence and, aside from his weird white gloves and his monkey (Bubbles); the wacky King of Pop was our lifeline and voice. Many happy days listening to Bad and Thriller beneath the carapace of a tree; a near-kiss to the strains of Smooth Criminal (musical irony and taunt at its most cruel and teasing); other pick-n-mix visions that made my childhood infinitely pleasurable and buoyant. T.Rex, actually, were those champions of the go-kart cassette player who taught me so much more about music. I remember listening to the anthemic rabble of Bang a Gong (Get It On) – subtlety plagiarised by Oasis on their hit, Cigarettes & Alcohol – and classics like Metal Guru, Children of the Revolution and Hot Love (a song that makes me smile like a child kicking Piers Morgan in the nuts). Britpop and its battles were the older boys that I looked up to and was fascinated by. Being in a state school in the South of England meant there was a healthy mix between those working-class peeps – such as myself – and the wannabe middle-classes who were both balkanised and galvanised by the Blur vs. Oasis rivalry. Songs from the legendary bands helped me through bullying and the first flourishes of depression. I became hooked by these emphatic and observant bands who were speaking for my generation – one finds few likeminded artists today who can truly represent Britain and give us all something to hold on to!

PHOTO CREDIT: Unsplash

I appreciated Blur for their clever-clever wit and Essex boyishness but was more drawn to the rugged rebelliousness of the Gallagher brothers and that constant spark. Albums like Definitely Maybe were vital sources of guidance and, as I started to discover Grunge in its late stages – going back to Nirvana and their earliest work – I was growing up around a mix of harder sounds that provided me with the energy and fortitude to withstand the vicissitudes of school life. The other artists – before I summarise the latter days and years – remind me of overcoming hard times and evoking crushes and cute times. In 1997, when a schoolmate died; I was searching music for assistance and a compassionate hug. The fact someone my age (fourteen or so) could leave the planet without warning and rationale was a dam breaking – where I changed from a relatively happy child to someone numbed by shock. The fact my musical icon Jeff Buckley – more on him soon – died that year meant I was scrabbling for reassurance and something uplifting. Odd songs – like Smash Mouth’s Walkin’ on the Sun – and familiar favourites provided the calories and sympathies needed to complete high school and ensure I was able to continue on. My broadloom and routine have been irrevocable shattered: music was the always-willing Muse who stood steadfastly and gave me that hug. I mentioned crushes and how they were scored: the Dance music you’ll see from my playlist were all rattling around my mind as I tried to win the most popular girl in school (without avail) and watched open-mouthed as a girl I was attracted to passionately made out with a friend of mine (what a prick!).

IN THIS PHOTO: The White Stripes/PHOTO CREDIT: Getty Images

That song I mentioned, that defined high-school, was, actually Snow’s Informer. That might not sound too humiliating but, to me, it was the song that made me feel good and tied together the myriad highs, lows and beautiful moments that helped me transition into adulthood. I will skip over a large chunk of time – the playlist covers any gaps – but there are other artists/time periods that need mentioning. The White Stripes came into my life when I started university up in Cambridge and, against the daunting spectacle of spires and centuries-old colleges; the Detroit-formed duo was a satchel I carried and was able to escape in. The memories of The White Stripes are bitter-sweet and complicated. I attended a ‘sister university’ of Cambridge - but was allowed entry to the Footlights. Although I only performed a few times; I attended social events and, being Cambridge University-organised; they weren’t actually relaxed and free-flowing. Black-tie dinners and French brasseries; dinners of fine decorum – where I would hang around with a few mates at the end and scoop wine bottles from the dinner table – would mix alongside summer parties in the gardens of Queen’s College. It was during one such party – where I over-imbibed on Pimm’s; had to cook dinner half-cut and watched the latest Harry Potter film without passing out – I realised, although I was a working-class guy who felt daunted and out of place among privately-educated people; music was that leveller and ice-breaker. This was around the time Elephant was released (2003) and that and The White Stripes – their debut of 1999 – were huge favourites. A mate of mine, Tom, introduced the duo to me and it was him that compelled me to see them play at Alexandra Palace – a gig memory that was a bit of a missed opportunity and regret…

IMAGE CREDIT: Getty Images

It was Tom who actually shared my love of Jeff Buckley. The man is my music idol and, as I was acclimatising to life post-university and exploring the possibility of music journalism; I got into Buckley and all his magic. I, like millions, adore Grace (his one and only studio album) but it is the live album, at Sin-é (pronounced shin-aye), that stands out. I have chosen his version of Je N'en Connais Pas La Fin (the spirit of Edith Piaf watching over him...) for my playlist. I actually wanted to select his rendition of Yeh Jo Halka Saroor Hae (a Qawwali song by his idol, Nusrat Fateh Ali Khan) that truly embodies all Buckley was: that brave and divine spirit; the way he could tackle any language/song and, if you listen to the monologue that proceeds the song; the way he interacted with the audience (a small number of people crammed into a New York café) that made me idolise him – shed tears and feel distraught realising he is no longer with us. His music has taught me more about myself and the world than any other musician; a dedication and relationship that still informs my decisions and makes me feel I am doing the right thing. I have not mentioned why Soundgarden and Nirvana represent great memories; why Björk’s debut is so vital – the artist that turned me on to BBC Radio 6 Music and the album that got me my first appearance on radio…we are pressed for time, so I shall end things...

PHOTO CREDIT: Unsplash

Music is a vital cog in my existence and the reason I got into music journalism was through a then-friend, Kate, and how music helped her. She wrote a blog that detailed her life and love experiences and it was a particular band, The National, who we used to bond over. I remember talking to her about albums like High Violet and The Boxer and how she found solace and warmth in the words. That may sound odd – considering the songs were quite emotive – but it brought me to her and, from there, started my music blog. We are no longer in each other’s life – a jealous boyfriend stopped that – but The National’s music reminds me of her (Kate’s) writings and what we used to discuss; how she compelled me to start writing and get into journalism. I have made a decision to dedicate full-time to music (and move to Manchester) and she is partly responsible for that – as are some of the artists I vibe to right now. Between then and now; there is one other artist who has made an impact – one that many might not have heard of. I was one of the first to review Yorkshire-born Billie Marten’s Writing of Blues and Yellows when it arrived in 2016. I gave it a hearty four-star review (when writing for an online music magazine) and, aside from some foolish conclusions – I reasoned, falsely, Emily and Green were minor songs! – the songs within helped me through a difficult time in a dismal job; in a town I hated/hate, around people I felt uneasy and angry around – a situation I am still in (in terms of the job and the town) but am changing in the coming months...

IN THIS PHOTO: Billie Marten/PHOTO CREDIT: Getty Images

It is one song, however, that had a huge emotive effect and helped me make decisions. Heavy Weather is a proudly delicate and passionate song that bellies her teenage years (Marten is, I think, eighteen) and one that fills my soul and makes me determined to make things better and plug on in life. My biggest hope is Marten releases another album this year – I will be one of the first to jump on that! – because Writing of Blues and Yellows was my favourite album of 2016. It was scandalously overlooked by the end-of-year poll-makers and did not even crack anyone’s top-fifty! Maybe that is a result of snobby attitudes towards Folk and young artists; let’s hope those journalists reverse their mistake and get involved with her sophomore record!

IN THIS PHOTO: Sam Liddicott/PHOTO CREDIT: Sam Liddicott

I will end things there – the playlist puts together songs that cover other years and events – but these songs, in their way, have shaped and guided my life from the age of three/four to thirty-four. They are the build-up to crushes and fumbled chat-up; the longing of youth and the discovery of new vistas and lands. (I haven’t even mentioned Steely Dan and how pivotal their album, Can’t Buy a Thrill, was to my childhood and reminds me of my aunt (who died of skin cancer); the way the songs connected and what they mean to me!). They are the fuc*-you to bullies and psychic bandages; the academic slackers and red-lipped temptresses that have shaped, for better or worse, the rest of my life. These are the songs, wonderfully, that will continue to influence my life as I tackle new careers, loves – let’s hope so! – and tragedies. All of the songs in the playlist have their place and short story; they are all crucial and irreplaceable and are memories I hope to hold…

PHOTO CREDIT: Unsplash

FOR the rest of my days!

FEATURE: Ma Nishtana: Why This Year Is Balancing Progression and Change with Tragedy

FEATURE:

 

Ma Nishtana

IN THIS PHOTO: Kendrick Lamar/PHOTO CREDIT: Getty Images 

Why This Year Is Balancing Progression and Change with Tragedy

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EVERY year in music…

IN THIS PHOTO: Avicii/PHOTO CREDIT: Getty Images

we witness heartache and unexpected loss. A few days ago, the super-producer Avicii lost his life and sent shockwaves through music. People from all corners of music and social media have come together to pay their respects to a wonderful and unique talent who had the potential to truly add his stamp to music. It is no secret that Avicii shunned some of the limelight and did not feel comfortable with the glare on his face. There were reports of depression and anxiety; he died in Muscat (Oman) with police reporting no foul play or suspicions. Back in 2016; Avicii was diagnosed with acute pancreatitis due to excessive alcohol use. Although one cannot draw a line between that diagnosis and his untimely death; the fact the Swedish producer is no longer with us has shocked many. Someone so young (twenty-eight) has left us and some wondering if more could have been done – if he should have gone into rehab or medical intervention could have prevented such a tragic loss. It is difficult to avoid every decline in health and sad loss – we have to go through this, unfortunately. Some of the best musicians and talents from the industry have died at a young age. The infamous 27 Club is the collective group of musicians who died aged twenty-seven – including Jimi Hendrix, Jim Morrison and Amy Winehouse.

IN THIS PHOTO: Amy Winehouse/PHOTO CREDIT: Paul Bergen/Redferns

There is no scientific or correlated reason why that age has become so synonymous with high-profile deaths. Maybe excess and certain pressures arrive at that age; when an artist reaches a sense of maturity and the critical acclaim gets too hot – the need to escape or find solace and comfort in drugs and alcohol. That is all speculation and lazy science. Of course; there are reasons why some of our finest musicians died at twenty-seven. Avicii’s fame and sudden prominence meant, of course, he was expected to be a certain way and in demand. His drinking issue might have had personal reasons and other contributory factors – perhaps his celebrity was not wholly culpable. It seems, though, we have an artist who suffered immense pressure and struggled to deal with all the trappings and roles of fame. He wanted to influence people – and left a great body of work – but was not completely happy having his every moment and movement planned. Again; there is no blame on anyone or the music industry as a whole. I am sad someone so young has died and warning signs were there. Should we expect this kind of thing to happen now and then?! I think it is a tragedy any artist, who is clearly over-indulging or struggling, should struggle so much. It seems, heartbreakingly, we cannot escape tragedies in the industry. My hope is Avicii’s sad and shocking death should open conversations and query whether we need to do more and raise awareness when it comes to young artists and excess.

PHOTO CREDIT: Peter Yang for Variety

One of the positive things that have come out of music this year is acknowledgement of black music and a greater focus on artists of colour. Kendrick Lamar, rather wonderfully, was the first black musician to win the Pulitzer Prize. The award usually goes to Jazz or Classic artists – the fact they awarded Lamar’s superb album, DAMN., is a big shift and seismic evolution. The ceremony has been accused of being stuffy and ludicrously narrow-minded. The rigidity and one-dimensional nature of his past winners mean nobody was expecting such a radical about-face. Lamar’s win follows on from Bob Dylan’s Nobel Prize win for Literature last year. Few expected a popular and decades-enduring musician to get the honour. Kendrick Lamar’s victory is not really needed from his perspective. He has accrued awards and huge fan numbers; the man has won critical affection and is one of the most popular and successful artists in the world. Those who criticise Hip-Hop – some bigoted commentators feel it has done more to damage black American youth than guns or drugs – need to look at the changes being felt and how the likes of Kendrick Lamar are coming to the forefront. Black music has suffered a turbulent and hard past. From Jazz innovators and Soul kings; the new wave of Hip-Hop and Pop artists – one can argue there has been racism and ignorance for many decades in music.

PHOTO CREDIT: Peter Yang for Variety

A piece in The Guardian argued why DAMN. warranted that elusive award:

“But even if it weren’t a cultural phenomenon, Damn would be deserving on a compositional level. While there will always be those who flatly refuse to accept hip-hop as a valid artform, for everyone else Lamar represents the pinnacle of the form. His combination of technical virtuosity, moral complexity, political acuity, wit, empathy and musical depth and breadth makes him the only MC (sorry Kanye) who can unite teenage hip-hop fans, Golden Age aficionados and people who barely follow the genre.

Raised in Compton, Los Angeles, Lamar, like many rappers, grew up amid poverty and gang violence. He continues to wrestle with survivor’s guilt and the moral responsibility that comes with success, constantly interrogating his own weaknesses and hypocrisies. When I interviewed him in 2015, he was hugely impressive in a low-key way: calm, reflective, deeply religious and wise beyond his years”.

I am not suggesting Kendrick Lamar’s achievement will reverse the trend we have always seen – where black artists do not get their due and are neglected when it comes to awards and festival slots. As recently as a year ago; we were wondering whether racism and the lack of attention paid to black artists would subside and redress. There seems to be more of a balance than there was back in 2017!

The most recent Grammy ceremony featured a lot of fantastic black artists and its major categories were supple with fantastic black artists. Although it did not go far enough – there was still imbalance and Bruno Mars, a Pop artist who produces music, not all critics love, won most of the awards – it was a great improvement and signs things were starting to change. The fact a black Hip-Hop artist won an award usually reserved to white artists of a certain genre…that sends a message that we cannot keep going on with ignorant practices. Another event I wanted to allude to was Beyoncé’s much-lauded and fantastic set at Coachella. The iconic singer-songwriter put in a career-spanning, life-affirming set that saw a reunification of Destiny’s Child and some of the best theatrics and dance displays seen at any gig. The artist has been out of the public eye since she gave birth to her twins last year. She is embarking on a co-headline tour with her husband, Jay-Z, and many wonder whether she will follow up 2016’s Lemonade with a new album. The confident and emphatic set she turned in at Coachella has put black music to the forefront again and showed our strongest and most impressive solo artist is black. You can argue there are better white artists who are more iconic and popular playing right now.

IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Getty Images

I would argue against that and state nobody has the same power, pull and panache as Beyoncé. We need her in music right now and that singular, divining voice can do so much to a divided world. All of these events and changes might sound like a small step and minor occurrence. If we look back a few years and see how far we have come right now – I feel 2018’s big steps and breakthroughs will continue for the next few years. I cannot argue we will see a complete reversal and there will be true equality in our lifetimes. I am positive genuine evolution can happy so we do not see black artists confined to the shadows and seen as inferior to their white peers. I realise commercial artists like Rihanna and Beyoncé have been performing for years – there are many more in the underground who have not received the acclaim they deserve. With the likes of Cardi B and Leon Bridges, between them, delivering some of the most affecting and stunning music at the moment; I wonder whether the recent acclaim of Beyoncé and Kendrick Lamar needs to be highlighted and used as a guide. There are still steps to be taken and more we can all do. I am pleased a body like the Pulitzer Prize decided to give an award for music to Kendrick Lamar. Nobody saw it coming and, whether compelled by pressure or recognition of genuine talent; walls are coming down and the always-stuffy are starting to relax their stringent and homogenised ideals. This year has seen some tragedy and great loss: alongside it has been some big steps forward and signs parity will come about. Many might say 2018 is no different to any other year. I feel very different, indeed. So far, over the past few months; there are signals that suggest this year will be…

VERY different to every other one.   

FEATURE: The Hottest May on Record? Great Albums Due Next Month

FEATURE:

 

The Hottest May on Record?

 IN THIS PHOTO: Chvrches/ALL PHOTOS/IMAGES: Getty Images

Great Albums Due Next Month

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APRIL is almost through…

IN THIS PHOTO: Ray LaMontagne

and we are starting to get used to the warmer weather and promises of festivals. I have been looking ahead to May and all the records that are scheduled for release. There are some average and forgettable ones out there: among the clan are some fantastic options that warrant proper attention and play! I have collated the albums, I feel, everyone needs to get behind and investigate.

Here are the best May-due records that the fondest and most ardent music fans…

IN THIS PHOTO: Courtney Barnett

NEED to keep their eyes out for. 

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Gaz Coombes – World’s Strongest Man

Release Date: 4th May

Genres: Alternative/Rock/Indie

Label: Caroline Distribution

Eleanor Friedberger – Rebound

Release Date: 4th May

Genre: Indie-Rock

Label: Frenchkiss Records

Leon Bridges – Good Thing

Release Date: 4th May

Genres: R&B/Soul

Label: Columbia Records

Beach House – 7

Release Date: 11th May

Genres: Dream-Pop/Indie-Rock

Label: Sub Pop

Simian Mobile Disco – Murmurations

Release Date: 11th May

Genres: Dance/Electronic/House

Label: Wichita Recordings

Ash – Islands

Release Date: 18th May

Genres: Alternative

Label: Infectious Music

Courtney Barnett – Tell Me How You Really Feel

Release Date: 18th May

Genres: Alternative/Indie

Label: Mom + Pop Music

Parquet Courts – Wide Awake!

Release Date: 18th May

Genres: Indie-Rock/Post-Punk

Label: Rough Trade Records

Ray LaMontagne – Part of the Light

Release Date: 18th May

Genres: Singer-Songwriter/Folk

Label: RCA Records

Chvrches – Love Is Dead

Release Date: 25th May

Genres: Synth-Pop/Alternative

Label: Glassnote Records

FEATURE: On the Grass, Earphones In… The Sunshine Playlist

FEATURE:

 

On the Grass, Earphones In…

 PHOTO CREDIT: Dean Chalkley/NME 

The Sunshine Playlist

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WE are at a time of the year…

PHOTO CREDIT: Unsplash

when the sun is out and we are not freezing our bottoms off as soon as we leave the house! The days of scraping the ice from the windscreen and wearing two layers of clothing are, it seems, done with. I am glad we do not have to endure the endless chill and negotiate single-digit temperatures! I recently put out a spring-themed playlist that nodded its head to the warming climate and the lighter days. I wanted to go further and get together a collection of songs that project sunshine, heat and the approaching seduce of summer. I have included a song from the sadly-departed producer, Avicii – who lost his life yesterday at the age of twenty-eight. Alongside him are artists old and new who can put us in mind of warmer days.

IN THIS PHOTO: Avicii/PHOTO CREDIT: Sergi Alexander/FilmMagic (2015)

It is just as well things are turning and we are all in a better mood. I have been scowling the annals and libraries of music and have collated a summer/sunshine playlist that keeps the vibes going and pumps heat and a sense of sweaty allure from the speakers. Sit back and listen to songs from a range of genres that do, I hope, get the blood pumping and put smiles on faces. We may only be in April but there are signs to suggest things will only improve from here. Let’s get together, crank up the stereo high and spin some songs that…

PHOTO CREDIT: Unsplash

GETS the heat rising!  

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FEATURE: High Court Judges with Northern Accents: Does Morrissey’s Latest Controversy Mean We Need to Create Distinction Between the Artist and the Music?

FEATURE:

 

High Court Judges with Northern Accents

 ALL IMAGES/PHOTOS (unless credited otherwise): Getty Images 

Does Morrissey’s Latest Controversy Mean We Need to Create Distinction Between the Artist and the Music?

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THE BBC raised an interesting point…

in an article that asked whether it is possible to separate an artist like Morrissey from his music. I will crib a section from an NME article that outlined the latest controversies and contradictions from the always-nuts world of Morrissey:

“The former Smiths frontman has been increasingly vocal on his new Morrissey Central website in recent weeks, using the site to fire back at newspaper articlesand to take aim at Sadiq Khan.

Now, in a new blog post, Morrissey has voiced his support for For Britain, the far-right party founded by Anne Marie Waters. Waters formed the party following her departure from UKIP after Nigel Farage dubbed the activist and her supporters “Nazis and racists”.

“I despise racism,” Morrissey writes in his post, which takes its title ‘I’ve Been Dreaming Of A Time When / the English / are sick to death of Labour and Tories’ from the singer’s ‘Irish Blood, English Heart’ lyric.

“I despise fascism,” he adds, continuing: “I would do anything for my Muslim friends, and I know they would do anything for me”.

This is not, as we know, the first time the legendary songwriter has been embroiled in scandal. It seems odd, for a man who seems so against and horrified by racism he would align himself with a far-right organisation. He has taken to the stage to attack, well…anything and everyone.

Maybe it is the ongoing violence in London or the chemical attacks in Syria – maybe he has a bad case of piles and wanted to vent at the world! Whatever has rattled the parrot in his cage; it is clear the Mancunian icon needs to calm it down a bit. Existing and life-long fans have been turning their support away from the songwriter and criticising his words. I can understand why someone like Morrissey would feel enraged and annoyed at the world. We know spiky and open songwriters like Mark E. Smith tend to leave the filter behind and say whatever comes to mind – the fact he is no longer with us leaves a bit of a gap. What bugs me is the fact Morrissey has a platform where he can inspire and act as an inspiration. I can approve of his attack of the P.M. and the way of Government are handling the affairs of the nation. Morrissey went after London Mayor Sadiq Khan – a semi-racist and noxious slight... – and accused him of lacking any love and respect. Mayor Khan is doing the best he can and, whether you like him or not; he is not culpable for the spate of murders in the capital. Morrissey’s usual ‘meat-is-murder-and-people-who-eat-it-are-wankers' rant came out – he needs to update and polish that tired argument! – and, although I am a pescatarian myself; he is winning no new fans by being so angered and spiteful.

PHOTO CREDIT: Unsplash

He is allowed his own politics and agendas – one feels he has been saying the same thing for decades and it has not changed things for the better. Many might argue the fact Morrissey is adding nothing new to the cauldron of controversy should not irk people too much. Morrissey's blog piece (reported by NME) raised eyebrows:

“In his post, Morrissey describes Labour as “hopelessly naive,” Prime Minister Theresa May as having “turned Britain into a international target” with her policies and the “Loony Left” as “concerned only with victim culture”.

He accuses the press of making “inflammatory and unjust comments against any new party that threatens the same old bloody pointless two-party system”.

“Please give For Britain a chance,” Morrissey appeals again. “They will bring an end to the modern Westminster mania for self-destruction. For Britain is the bulldog breed that will never surrender. Both Labour and Conservatives have already sold you down the river into righteous oblivion.”

“This is my last political strike,” Moz adds. “No wish to upset anyone! But the time has come to fight, and Labour and the Conservatives have their backs to the sea. Are you capable of change?”

Morrissey has given his views about the Kevin Spacey-Harvey Weinstein scandal – rationalising their crimes and being rather naïve about the seriousness – and has barely said a positive and nation-unifying thing since his days in The Smiths.

PHOTO CREDIT: Unsplash

This brings me to the issue of the music vs. the artist. We can separate the two but they are intrinsically linked. People, young and old, listen to a musician’s work and they are going to be interested in what they say. What grinds my gears is the strength of Morrissey’s music and how he and fellow artists have inspired the music world. Outspoken musicians such as Liam Gallagher have never been short of oxygen and outrage – most of Liam Gallagher’s anger and comments are aimed at his brother, Noel. In fact; Liam does not attack every politician out there and alienate himself from the rest of the world. I listen to Morrissey’s music and it can be hard keeping my brain engaged and my mind focused. I always think about things he comes out with and wonder, truly, if he wants people like me listening to his songs. You can separate a musician from their songs – that does not mean you respect them and do not judge them when they say something stupid. A musician’s primary job is to provide fantastic sounds and do the best they can in the industry. Part of their job entails being responsible and trying to inspire those who follow them. There is a difference between rebellion and a Rock and Roll spirit compared to those who court condemnation and judgment.

IN THIS IMAGE: Liam Gallagher

Many have marked the death of Morrissey as a force in the industry. If you judge his earliest bloom (1984) and his latest album (Low in High School was released last year) – have we finally had enough of the icon?! Low in High School had some good moments but was a definite deterioration and slump compared to some of his recent albums. My favourite moments from Morrissey’s solo career come around 1992-1994. I love Your Arsenal (1992) and it seemed, after a fairly unbalanced start to his solo life, he was hitting the stride we knew he was capable of. That album was full of swagger, bite and hard-hitting, brain-buzzing tunes. Vauxhall & I, the fan favourite, was released in 1994 and kept that pace and genius alight. If one wants an abridged history of Morrissey’s barbed and scathing comments; you need only look at a Rolling Stone article from 2013:

“When Morrissey blamed Beyoncé for the near-extinction of the rhinoceros at a Los Angeles show last week – "The rhino is now more or less extinct, and it's not because of global warming or shrinking habitats. It's because of Beyoncé's handbags" – it was only the latest in a decades-long series of pointedly provocative comments by the ex-Smiths singer and animal rights activist. Earlier in the week, Morrissey refused to appear on Jimmy Kimmel Live! because the cast of pro-hunting reality series Duck Dynasty were slated to be fellow guests. Kimmel bashed Morrissey on the show and aired a parody Duck cast-as-vegans clip; Morrissey responded in typically withering fashion, saying Kimmel "found time to jokingly promote gun-ownership – hugely amusing for the parents at Sandy Hook, no doubt" and claiming that "Jimmy Kimmel himself has finally revealed his show to have an overwhelming loss of meaning."

 But animal rights is only one of Morrissey's pet issues. The singer also has a history of lashing out at the British royal family – and pretty much anything and anyone else he feels like. Some of his outbursts have drawn accusations of racism; others, merely poor taste. And some are just funny. Here are Morrissey's most vicious disses, bon mots and general nastiness:

·         2013: Morrissey refers to David and Victoria Beckham as "The Peckhams," describes them as "insufferable" and says they should be "dragged to the edge of the village and flogged."

·         2012: Morrissey links the suicide of a London nurse to the Duchess Kate Middleton. "There's no blame placed at Kate Middleton, who was in the hospital for, as far as I can see, absolutely no reason . . . She feels no shame about the death of this woman. The arrogance of the British royals is staggering, absolutely staggering."

·         2012: Morrissey has his band wear "We Hate William and Kate" shirts onstage.

·         2012: In an open letter to his fan club, Morrissey rips into the "blustering jingoism" of the London Olympics, comparing the mood in the U.K. to Nazi Germany. "The 'dazzling royals' have, quite naturally, hijacked the Olympics for their own empirical needs, and no oppositional voice is allowed in the free press. . . The spirit of 1939 Germany now pervades throughout media-brand Britain."

·         2011: In an interview with Billboard, Morrissey calls Lady Gaga"nothing new" and says her style is "fraudulent, and the exact opposite of erotic." He also refers to Madonna as "McDonna" and says Michael Bublé is "famous and meaningless."

·         2011: Of the Norway massacre in which 77 people died, Morrissey heralds to a Warsaw crowd, "That is nothing compared to what happens in McDonald's and Kentucky Fried shit every day."

PHOTO CREDIT: Unsplash 

·         2010: Discussing animal cruelty in China, Morrissey tells The Guardian, "You can't help but feel that the Chinese people are a subspecies."

·         2009: Morrissey leaves the stage at Coachella, explaining "The smell of burning animals is making me sick. I can smell burning flesh . . . and I hope to God it's human."

·         2002: From documentary The Importance of Being Morrissey: "Bring me the head of Elton John . . . which is one instance in which meat would not be murder, if it were served on a plate."

·         1997: Morrissey bashes Madonna again. "Madonna reinforces everything absurd and offensive. Desperate womanhood. Madonna is closer to organized prostitution than anything else."

·         1994: When asked about an incident in which an Australian student shot a starting pistol at the Prince of Wales, Morrissey responds, "I wish that Prince Charles had been shot. I think it would have made the world a more interesting place."

·         1992: Morrissey knocks dance music. "It's the refuge for the mentally deficient. It's made by dull people for dull people."

·         1985: Morrissey slams the charity group Band Aid and its co-founder. "Bob Geldof is a nauseating character. Band Aid was the most self-righteous platform ever in the history of popular music."

·         1984: Morrissey blasts the Cure. "Robert Smith is a whingebag."

·         1984: Morrissey laments the failed assassination attempt on Prime Minister Margaret Thatcher after the Brighton hotel bombing. "The sorrow of the IRA Brighton bombing is that Thatcher escaped unscathed."

I am a big fan of Morrissey’s stance on animal rights and the fact he does, deep down, have a love of Britain and wanting to keep the people safe. I have quoted so heavily from other sources because we need the facts in front of us – my personal views should not muddy the water and create bias.

It seems like artists who command respect and assume a sphere of influence should be more pragmatic and conscientious when it comes to what they say. A lot of media sources have attacked Morrissey and questioned what is happening with him. He has suffered health issues through the years and struggled with mental-health issues – should this be used as a justifiable excuse?! Other mainstream artists have anger and things to say to those in a position of leadership. They are better at articulating that frustration through something productive and inoffensive. One can look at comments made by the likes of Stormzy – who has voiced his opinions on the Government following the handling of the Grenfell tragedy – but his anger is motivated by that one event. He is not someone who takes swipes at multiple sectors of society and claims racism is bad – only to side with a party who are known for their radical views and hatred. I still listen to Morrissey’s music but am getting more and more bored of the man who created such brilliant albums. It is sad to think that the former Smiths frontman who, alongside Johnny Marr, penned some of the finest songs of the 1980s, has now been reduced to a rather bitter and bile-spewing middle-aged man who is tainting his legacy. He may loathe racism and oppression: the fact he is throwing his weight behind For Britain. His misguided comments and outbursts may not destroy his legacy and music; what they do is give the music an unwanted…

PHOTO CREDIT: Nick Knight for The Face, 1984.

TASTE of bitterness.  

FEATURE: The April Playlist: Vol. 3: As Record Store Day Takes Hold…

FEATURE:

 

The April Playlist

IN THIS PHOTO: Father John Misty 

 Vol. 3: As Record Store Day Takes Hold…

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THERE are a lot of people stepping up…

IN THIS PHOTO: Bishop Briggs

their passion for music today! Record Store Day is here and, with it, fervent and feverish crate-diggers will be out in force – getting their hands on all the re-releases, new offerings and classic vinyl. Away from the throng of record store heat are the best new songs from the world of popular music. There are cuts from Father John Misty and Ariana Grande; Janelle Monáe and Leon Bridges; The Coral and Courtney Barnett – a rare and unexpected release from Mazzy Star has gifted our ears this week!

It is an exciting, packed and big-name week for music that sees the likes of Anne-Marie and Blossoms stack up alongside Prince, Bishop Briggs and Miles Kane – something, you’ll agree, for everyone!

ALL PHOTOS/IMAGES (unless credited othewrise): Getty Images

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Father John Misty – Just Dumb Enough to Try

Anne-Marie – 2002

PHOTO CREDIT: Sara M. Méndez

Miles Kane – Loaded

Janelle Monáe – I Like That

Ariana Grande – No Tears Left to Cry

Blossoms – There’s a Reason Why (I Never Returned Your Calls)

Prince – Nothing Compares 2 U

Billie Eilish, Khalid - lovely

Leon Bridges – Beyond

The Coral – Sweet Release

Courtney Barnett – City Looks Pretty

Grace Savage – The Hunger

Kelsey Lu – Shades of Blue

Louise Golbey – Still

Lykke Li – deep end

Mahalia – No Reply

Mazzy Star - Quiet, the Winter Harbour

Morrissey – By the Time I Get to Wherever I’m Going

Sasha Sloan – Runaway (Vertical Video)

 

The Vamps – Hair Too Long

Alexis Taylor – A Hit Song

PHOTO CREDIT: @lindseybyrnes

Bishop Briggs – Wild Horses

The Paper Kites – Arms

The Shires – Loving You Too Long

PHOTO CREDIT: Rahi Rezvani

Editors – Darkness at the Door

AURORA – Queendom

Let’s Eat Grandma – It’s Not Just Me

Ben Howard – Towing the Line

The Tallest Man on Earth – Somewhere in the Mountains, Somewhere in New York

Morgan Saint - Just Friends

Daughter - All I Wanted (Live at Asylum Chapel)

JONES - Tender (Acoustic in London)

Kylie Minogue (ft. Gente de Zona) – Stop Me From Falling

The Pale White – Peace of Mind

FEATURE: First-Person Narrative: Is Love or Singledom the Greatest Muse?

FEATURE:

 

First-Person Narrative

ALL PHOTOS: Unsplash

Is Love or Singledom the Greatest Muse?

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IF Morrissey bemoaned his lack of action and sexual braggadocio…

on The Smiths’ song Never Had No One Ever; one cannot even start to get their head around my lack of relationship glory! A lot of my daily creativity throws in a moral and soulful conundrum around passion and companionship. In order to peruse my desires and aspirations to the nth-degree; I need to have a degree of solitude and focus. How much would I be able to produce if I had a committed relationship and was dividing my time? Would consistent journalism and the relentless curiosity that comes with it create a distraction and, thus, have a detrimental impact on the relationship? I do weight that up and am not assuming that if I had greater clarity in respect of placing my bodily needs over that of the mind, I would be able to find someone and be happier. The reason I embark on such a lonesome and all-hours-consuming drive is that I can get more done and have few distractions. I am interviewing a lot of people and a few things are coming to light. For a start; many of the songwriters I feature are single by choice. They feel there is a risk of having to balance the full-time demands of a relationship with the full-time job and full-time career in music. Full-time-squared is less pressured and destructive than, say, full-time-squared.

One might say the pleasures and burden-sharing benefits of a relationship make the equation less daunting and less heavy. It is possible being in a relationship and being able to commit to music and all it holds. Another thing I have noticed is the fact many are looking for love in order to help get their mind away from music. They are actively seeking a boyfriend/girlfriend because music is such a demanding and tiring pursuit. Having an extra body and that affectionate company allows a sense of de-stress and assistant. We are more anxious and solitary than any time in human history. The rise of machinery and the digital means we fabricate friendships and have access to all things at the click of a button – there is less need to go out and bond with people. Whilst we can get conversation and communication from the Internet; they have not advanced technology so we can have a relationship and sex through this method. Relationships are, luckily, one of the last human pursuits that cannot be outsold to big corporations and technology. Maybe we can communicate with our girlfriend/boyfriend online but the physicality and sociability need to be there in order to make it work. What, then, does this have to do with music?! The other thing I am picking up (from interviews) is that failed relationships and the need for personal space are becoming bigger motivators for creativity than love itself.

We look back to the music of the 1960s and 1970s and a lot of the best songs are about relationships and the paens of common connection. Now, in this fast-paced age, sex and relationships are more complicated and variegated – the full spectrum is being explored and exposed. I am caught between a rock and a hard place right now. I want a relationship myself but feel, if I relinquish the lure of writing and the demands it puts on me; that risks exsanguinating my proliferation and taking my attentions away from my true pursuit. Songwriting, I have found, is less clear-cut than recent years. More and more artists are talking about the benefits of solo life and being able to have independence. Whilst many artists are painting pictures of doomed love and deceitful lovers; they are finding relief in that transition and looking more inward. We have seen the new breed of Pop artist – from Sigrid and Dua Lipa to Tom Misch and Superorganism – and the palette is not as commercial and lyrically predictable as you’d imagine. When artists such as Dua Lipa are talking about love, there is a lot more bravery, personality and broadness – the sex is more sizzling and saucy; the single life more nourishing and less fearful; the relationships more even and challenging.

If you had to answer this simple question: Do you feel songwriters are talking more about love than being single – what would you answer be? I feel the once-reliable muse of romance is being replaced by a move towards single life. So many of the artists I review and speak to are either single by choice or unable to find love. Whilst that might paint an image of loneliness and stress; many are using that sense of freedom to expand their careers and become more ambitious. Songs are reflecting a less confined and predetermined life – children and marriage – and artists, because of the hours they put in, are unable to commit to proper relationships. I am not saying hook-ups are substituting relationships and long-term love: there is a sense that time is limited and a career in music is impossible if one were in a relationship. That being said; I am discovering artists, like I said, who are finding it harder to find love. Dating websites are out there but that either leads to dodgy dates and mixed results. Few are finding anyone substantial and, largely, the liaisons are brief and unmemorable. That desire for love is still part of the songwriting cannon but, more and more, artists are embracing – willingly or not – a life of singledom.

From my viewpoint; I commit a lot of time to writing and, when I do go out, it is for errands and not necessarily sociable. I get carried away with writing and, whilst I get a lot done and pleased with my work; there is little time at the end of the day to do anything (but sleep, I guess). The weekends are very similar: a lot of work and scant time outside and mingling. Although that concentration and discipline leads to a prolific output and a good routine; I wonder whether my work would be stronger were I to embark on a relationship – fewer pieces but better quality, owing to greater happiness and fulfilment. So much of music involves relationships and how sex and love are entwined in the fabric and bones of the process. There are songwriters who write about conventional desire and being in contended romances: there are more and more who are writing about separation and the need to embark on a solo life. Does this mean, though, we are a less together and compatible people?  Are successful relationships harder at a time when there is less disposal income in the pocket and more strain on the shoulders?! I find myself coming back to the paradigm of the modern Popstar: the embodiment of youth and the representation of young life.

Whilst artists in Folk and Rock articulate the complexities and realities of love as good as anyone else; it is those young Pop artists who have always focused on love more. Songs are becoming, largely, more mature and there is less emphasis on the ‘Ls’ of life: love, loss; lips, losers and loquaciousness. Artists are talking about psychological concerns and nurturing the self; coping with anxieties and finding it more difficult to concecrate their lives to relationships. It is odd comparing the way Pop and the mainstream, especially, has evolved through the years. Listen to a lot of the 1960s’ best and, yes, you will hear recrimination and romantic fall-out. There are more songs that express happiness and contentment in life. Even as recently as a few years ago; it seemed writers were in a more embracing and open mindset. Whereas love and its allure was a driving force then; now, as we look at new artists coming through – is love and its benefits outweighing solo life and tackling things lone? If I had to do a reconnaissance of all the interviews and reviews I have done over the past few weeks; when I ask artists about song inspiration and their status, the breakdown is quite clear: more artists are speaking about the negatives of life and more artists are single (than those in relationships).

Maybe that is just the artists I have been seeing: I feel they represent the changing nature of music and how artists’ lives are. That projection is not necessarily gloomy and clandestine. Loads of people are happily in love but I guess, given the time one needs to put into music; a lot are talking about love in more theoretical and less tangential terms – the need for something sustainable and uplifting is still there, though. I am one of those people who is motivated by career and creative success rather than embarking on a relationship and laying down roots. That is not to say, too, we cannot see classic love songs coming from the radio in years to come. I think love is a wider spectrum and more open forum than it was in previous years. We are more understanding of different orientations; people are not being defined by relationships and the life of the single person does not need to have any stigma attached. I shall leave things there but wanted to leave the feature’s headline question on the tongue. Listen to modern music and compare it with stuff we grew up with. One can chart a development and shift regarding the nature of a love song and what artists are writing about. Perhaps the charts are less beholden to inane love songs; maybe music has become more diverse and artists are exploring new territory – there is a definite change in the air! That eternal muse of love is strong but her skin is wrinkling and there are crow’s feet forming. What about me, then?! Well; I am hopeful of finding someone soon but feel, in order to achieve what I want from journalism and music my relationship status is not…

ONE I can change and negotiate with any time soon.