FEATURE: The May Playlist: Vol. 3: “I Would…It’s Just I’m Not That Good at Being Open…”

FEATURE:

 

The May Playlist

 IN THIS PHOTO: Courtney Barnett 

Vol. 3: “I Would…It’s Just I’m Not That Good at Being Open…”

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I am excited…

IN THIS PHOTO: Christine and the Queens

there is a new album out from Courtney Barnett. Tell Me How You Really Feel has been collecting some ace reviews and proves she is one of the wittiest, most relevant and sharp songwriters in the world. Alongside a cut from the Australian songwriter are new tracks from Gruff Rhys and CHROMATICS; Christine and the Queens and Drenge have released awesome works – there are videos from Arctic Monkeys and Sigrid in there.

It is another intense, mixed and bubbling cauldron of works that will appeal to all tastes and curiosities. I recommend you dive in and digest as much as you can – a brilliant pile of musical wonders that will keep you full and satisfied!

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

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Gruff Rhys - Limited Edition Heart

André 3000 - Me & My (To Bury Your Parents)

PHOTO CREDIT: Zackery Michael

Arctic Monkeys - Four Out of Five

CHROMATICS – Black Walls

Johnny Marr – Hi Hello

Drenge – This Dance

Pale Waves – Kiss

 

Sigrid – High Five

Nine Inch Nails – God Break Down the Door

Snail Mail – Let’s Find An Out

Backstreet Boys - Don't Go Breaking My Heart 

Christina Aguilera (ft. Demi Lovato) - Fall in Line

Bella Thorne – GOAT

Black Eyed Peas - RING THE ALARM pt.1, pt.2, pt.3

Christine and the Queens (ft. Dâm-Funk) - Girlfriend

James – HANK

Jennifer Lopez (ft. DJ Khaled and Cardi B) - Dinero 

The Kooks – All the Time

Lady Leshurr – OMW

Lykke Li – utopia

Pharrell Williams x Camila Cabello - Sangria Wine (Pseudo Video)

Stefflon Don – Senseless

Tom Grennan - Barbed Wire

PHOTO CREDIT: Pooneh Ghana

Courtney Barnett – Charity

James Bay – I Found You

Kelly Clarkson - Meaning of Life

The Charlatans - Totally Eclipsing

PHOTO CREDIT: @dalb.y

Laura Jean Anderson - Silence Won't Help Me Now 

Suuns - Look No Further

Years & Years - If You're Over Me

Parquet Courts – Tenderness

Chelsea Cutler – The Reason

Nick Mulvey – The Doing Is Done

HAERTS – Your Love

Betty Who – Taste

The Joy Formidable - Dance of the Lotus

Disclosure (ft. Fatoumata Diawara) - Ultimatum

Migos - Narcos

FEATURE: Digital Witnesses: The Continued Growth of BBC Radio 6 Music and the Digital Upswing

FEATURE:

 

Digital Witnesses

IMAGE CREDIT: Getty Images/BBC 

The Continued Growth of BBC Radio 6 Music and the Digital Upswing

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THIS is, to be fair, my first…

PHOTO CREDIT: Unsplash

real passion-piece about BBC Radio 6 Music since last year! I have shackled my hands and will not do another vacillating and fevered article about the station until, oooh…next month! There is a reason why I am bringing the station back into the spotlight: the latest RAJAR figures are out. Rather than (RAJAR) being a super-spy looking out across the land for the most discerning listeners; it is a slightly-less-cool-and-awesome acronym for 'Radio Joint Audience Research'. We are now in the position where digital radio is more popular than A.M. and F.M. That seems extraordinary given that, as recently as a few years ago, the dominance of the big boys/girls. Over 50% of the radio audience is tuning in via laptops and D.A.B. radios. I will come to look at, what I think, is the leader of the digital market – before I get there; I want to bring in an article that highlights the facts and shows why digitally-produced radio is vibing so hard right now:

“Digital listening has reached a new record share of 50.9% – a landmark achievement for the industry which hopes will trigger action from the Government about the future of DAB.

This compares to 47.2% in Q1 2017 and to 24.0% in Q1 2010 when the Government’s Digital Radio Action Plan, which outlined a programme of work to progress digital radio take up, was launched.

With the 50% digital listening threshold now met, it is anticipated that the Government will undertake a review to assess digital radio progress and determine next steps in due course.

PHOTO CREDIT: Unsplash 

Speaking at the Tuning In commercial radio conference yesterday, Margot James, Minister of State for Digital and the Creative Industries, said “The 50% share will be an important milestone for radio” and confirmed that Government will “work closely with all partners – the BBC, commercial radio, Arqiva, car manufacturers and listeners – and subject to this will make some further announcements.”

Ford Ennals, CEO, Digital Radio UK, told RadioToday: “This is a landmark moment for the radio industry and for listeners alike. Digital platforms now account for the majority of all radio listening for the first time. The digital transition is good news for radio and is helping our industry compete more effectively in a digital age. We look forward to continuing to work with broadcasters, the supply chain and Government on delivering radio’s digital future and the upcoming digital radio review.”

Digital listening share is comprised of listening across all digital platforms – DAB in homes and in cars, Apps and online (which includes the growing number of smart and voice-controlled speakers) and DTV – and this is the first time that listening to digital has been greater than analogue platforms – FM and AM.

Overall, digital listening hours grew by 7.8% compared to Q1 2017. The greatest amount of digital listening takes place on a DAB radio which now accounts for 36.8% of all listening and 72.2% of digital listening, with hourly growth of 8.9% year on year. Online and Apps now accounts for 9.3% of all listening and 18.3% of digital listening, with the greatest percentage hourly growth of 17%. Listening via digital TV meanwhile accounts 4.8% of all listening and 9.4% of digital listening”.

IMAGE CREDIT: Getty Images/BBC

It is unsurprising, given the ultra-technical world in which we live, more and more people are discovering radio through digital means. It does not mean the audience is exclusively young and fewer middle-aged/older people are tuning out – the demographics are shifting and more listeners are buying radios and listening via the Internet. It is easy to understand why digital radio is proving popular and on the rise: the Internet provides vast access to a world of great radio and, the more people that go online; the more people will seek out other options. To paraphrase a running joke of Mark Radcliffe – on his (week)daily show with Stuart Maconie – the average BBC Radio 2 listener might be found drinking sick from a pub toilet whilst a group of chanting drunks weald bicycle chains and scream over the sound of vomiting. The BBC Radio 6 Music listener, on the other hand, is busy inventing the next big breakthrough; curing stubborn diseases and leaving a flaming bag of dog poo on the doorstep of Piers Morgan. I joke, of course: the listeners of BBC Radio 2 are a more sophisticated bunch but it seems, with its cooing vibes and seductive rhythms; the sounds of BBC Radio 6 Music is a preferable option for many. The station has announced weekly listening figures in excess of 2.53 million – it is a station that has benefited from fantastic word-of-mouth and the power of the Internet!

The addictive quality of the station and its ethos means it is hard being even a day without the glorious music and chat. I have started a new job and have to endure another day without my favourite shows from the station – I am routinely screaming and punching a toilet door to cope without the glorious dead air of Shaun Keaveny or a fantastic piece of wordplay from Radcliffe and Maconie; some brilliant tunes and wit from Lauren Laverne, for instance. My daily routine consists of mornings with Keaveny and then the continued northern warmth of Laverne and RadMac – bits of Steve Lamacq and, when I have the time, lashings of Marc Riley and Mary Anne Hobbs. I love a bit of Nemone and Tom ‘Ravers’ Ravenscroft and love Chris ‘The Hawk’ Hawkins – so much personality and passion packed into every show. I have speculated as to why stations like BBC Radio 6 Music have grown and continued to recruit followers at an alarming rate. One listens to the music and the range coming from the airwaves and is inspired to be better and have great ambitions. I, myself, am planning a music T.V. show – it will need a lot of money and patience to get it off the ground – and pushing myself as a music journalist. Many others have changed their horizons and, because of BBC Radio 6 Music, have found a great sense of comfort and familiarity...

IN THIS PHOTO: Lauren Laverne/PHOTO CREDIT: Getty Images/BBC 

The reason I stumbled upon the station was dissatisfaction with my previous ‘favourite’ – I shall not name the station...but it rhymes with ‘Babsolute Radio’. I had been longing for an option where the D.J.s were there for the music and keen to promote the finest new sounds and keep the best of the archives burning and moving forward! I have discovered older acts like Can through BBC Radio 6 Music; glorious new blood like Kamasi Washington, Nils Frahm and Hannah Peel – every week, you find a new sensation and are, in many ways, waiting to hear the greatest song ever. There is that link between producers, D.J.s and other talent on the show: many stations put walls between D.J.s and producers and the experience comes off rather cold and too-formal. We have great music news presenters like Matt Everitt, Georgie Rogers (possibly, the most seductive and purest voice on the station) and Clare Crane; Helen Weatherhead and Elizabeth ‘Alcopops’ Alker, too. Every show, too, has its own identity and sound. Craig Charles favours Funk and Soul; Nemone has her Electric Ladyland; Laverne, Keaveny and RadMac have their mix and particular style. One can navigate the schedules and find D.J.s/programmes bespoke and ready to cater to your every desire – if you want a broader option then there are shows to satisfy and slake. I have professed my love, enough, for D.J.s like Lauren Laverne and Shaun Keaveny; the banter/passive-aggressive love between Matt (Everitt) and Keavney; Laverne’s endless passion and wonder – the way she seems to drink and live music every moment.

You need only look at every D.J. on the station to know their place there is because of that dedication to music and a level of quality you will not find anywhere. I have not even mentioned D.J.s like Amy Lamé, Gideon Coe and Cerys Matthews. If anything, there are little steps the station could take. The website is fantastic but looks like any other BBC radio station page. It is organised to an extent but they could benefit from something with a bit more edge and order – it can be quite hard navigating and honing in on presenters and shows. BBC Radio 6 Music could run and command an award show – one that people genuinely look forward to; recognises the actual best in music! I have been trying to pitch a music T.V. show but, in essence, it would be a visual form of BBC Radio 6 Music: fantastic live performances and a mix of classic music (looking at one legendary album a week) and the brand-new. There are no T.V. options out there like that: a venture by BBC Radio 6 Music could fill the gap and be a prudent and popular move. That may all happen, but I am glad the station continues to find new fans and feed those who love music the most. I have broadened my visions and pushed myself harder through finding the station. I am discovering new gems and wonderful music each and every day.

PHOTO CREDIT: Getty Images/BBC

Whilst the music is fantastic and it is all-killer-and-no-filler; it is the people behind the microphones that keep me hooked. The accents (northern presenters as dominant as southern vocals) and unique voices make the music stand out and, with it, make the listener feel at home a part of the party. BBC Radio 6 Music sees the outsider and welcomes them in; it hugs the senses and keeps everyone safe and warm. It is a festival for those who know their music but are willing to allow someone else to infect their bloodstream and suggest other options. There are other great digital stations out there – one can do their research and surf a bit – but BBC Radio 6 Music is at the top of the tree and is the Grand Master of the Digital World. I will continue to listen and promote the station because it continued to give so much and has made a huge impact on my life. I hear call-ins and regular features on various shows and can hear the D.J.s truly connect and emphasise with their followers. There is that two-way connection and relationship that means new listeners need not be afraid or tepid. They are all welcome to dive in and excited to share their stories and favourite music. For a station that faced closure a few years back; it is amazing to see this huge recovery and dominance – not that the station was ever in any trouble at all or lacked genius! It shows you cannot judge a station by its place in the market and how underground it is. BBC Radio 6 Music is still in the ‘cool’ part of the pie-chart but is starting to compete with the biggest stations in the U.K. For new and old listeners alike; let’s keep the digital waves alive, growing and…

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

CATERING to those who love their music variegated and incredibly good!

FEATURE: A Storm in Every Season: How Willow Smith’s Confession of Self-Harm Should Give Strength to Others

FEATURE:

 

A Storm in Every Season

IN THIS PHOTO: Willow Smith/ALL PHOTOS (unless credited otherwise): Getty Images/Press 

How Willow Smith’s Confession of Self-Harm Should Give Strength to Others

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AS this is Mental Health Awareness Week…

I am exploring a few different sides of mental-health and trying to provide inspiration. I have already covered exercise and physical activity’s role in lifting the mood/creativity; I have compiled an inspirational (I hope) playlist and will, if I find enough time in the schedule, look at discussion...and the ways of making it easier to open up regarding mental illness. A story caught my mind that, to be fair, is common to a lot of people. We have seen musicians talk about self-harm but, for the most part, we absorb yourself in the event and then move on. Maybe it is the timeliness of the revelation, but Willow Smith – the teenage daughter of Will Smith and Jada Pinkett-Smith – has spoken about the fame she accrued following the release of Whip My Hair (back in 2010) and the pressure on her shoulders. She is still only seventeen and so, at such a young age, that sort of focus and pressure, invariably, took its toll. Smith spoke about living in a famous household and having well-known parents. There was that press attention and the expectation to follow such a hit single. Whilst many might assume someone who has wealthy parents should not feel any pressure and has no right to complain; Willow Smith spoke about the transition and disruption in her life – acclimatising to this new world and trying to mix her normal existence with one that included high-profile interviews and huge gigs.

Quoting from NME they have covered the story/Smith’s interview and why she has decided to go public with her admissions of self-harm:

“Speaking on Red Table Talk with her mother, she spoke about how the pressures of fame at such a young age pushed her to extremes.

“It was after that whole ‘Whip My Hair’ thing and I had just stopped doing singing lessons and I was kind of just in this grey area of, ‘Who am I? Do I have a purpose? Is there anything I can do besides this?’,” she said.

Willow continued:  “After the tour and the promotion and all of that, they wanted me to finish my album. And I was like, I’m not gonna do that. And after all of that kinda settled down and it was like a kind of lull.” Explaining why she turned to self-harm, she said: “I honestly felt like I was experiencing so much emotional pain but my physical circumstances weren’t reflecting that.”

“A lot of adolescent girls struggle with self-harm.”

Willow added that she didn’t tell her family about what she was going through, and that only one of her friends knew that she was self-harming.

“I never talk about it because it was such a short, weird point in my life. But you have to pull yourself out of it,” she said.

“One night I was like, ‘This is actually psychotic’. And I just stopped”.

Whilst it is heartbreaking to hear of Smith’s struggle; it seems she is on a safer footing and is looking ahead to the future. Maybe there is less spotlight on her following her debut single – she is an older artist and, even at seventeen, a big music career is seen as normal and routine now. Maybe it was a lot to ask of her at nine years old; taking on all that responsibility and being thrust into a strange and frightening world. It is the way Smith, and so many of her peers, have dealt with that pressure that struck me. Willow Smith is not the only musician who has elevated the stress and anxiety of a busy career with self-harm and physical mutilation. There are many out there who do it routinely; artists like Demi Lovato, Sid Vicious and Richey Edwards – a broad and varied list, I know! – have coped with struggle and stress with self-harm. So too has Courtney Love, Amy Winehouse and Paris Jackson (the daughter of Michael Jackson). I have not written this piece to highlight Smith as a tragic case or someone who outranks anyone else. The reason I have written this is to congratulate her, and other artists, who come out and reveal such harrowing visions. She is not the first musician to talk about self-harm but the candid and human way Smith opened up should give guidance and courage to many.

PHOTO CREDIT: Unsplash

I am not suggesting every artist and musical creative who suffers self-harm should jump the media and embark on a lengthy social media post – self-harm is very private and emotional; it is understandable many would want to keep that information confidential. Smith, as a teenager, has the pressures of school and growing up. She has celebrity parents which, whilst it has benefits, puts an expectation on her back and everyone will associate her with mum and dad, Jada and Wil!. Not that she is living in their shadows or hanging on their apron strings: she has her own career and sibling, Jaden, who is an actor – experiencing the same sort of attention his sister does. A lot of the time, we buy music and go to gigs without realising what an artist does away from the stage. We have seen the suicide of some big names in recent years; one, sadly, as recently as a week ago. People do not go from suicidal without experiencing self-harm and some lower-level form of abuse. It is hard to open up and, for musicians, there is a public image and two sides: the persona and human we see in print/on record and the real human who everyone else sees. That compartmentalisation and separation is not only isolating and confusing but harrowing and exhausting. I can only imagine how someone like Willow Smith must have felt going from a young girl at school to an (almost) overnight Popstar.

PHOTO CREDIT: Unsplash

I am glad she has come through the worst and did not, as far as I know, get to the point of contemplating suicide. She has many teenage fans and girls/boys who look up to her. It would have been easy to remain quiet and put on a façade. Those who do should not be condemned or forced to talk. The fact Willow Smith has will help many and reveals the pressure we put on young artists and musicians in general. It is a week where mental-health gets a rare time to shine and provoke conversation. My great fear is that, as early as next week, the bunting will be down and all the symposiums, forums and articles floating around online will be consigned to archiving. We have to wait another year for more discussion and a chance to put mental illness out to the world. There have been so many positive and informative pieces put out; so many have shared their stories online and someone, somewhere will take inspiration and change their life. It is hard to quantify how many people will be saved and seek help based on the information coming out this week. I wanted to focus on Willow Smith and her story because that, I hope, will give other artists the courage to break a wall and tell their tale. Self-harm is a complex and upsetting reality for many; it is really hard taking that step and opening up.

IN THIS PHOTO: Demi Lovato (who has spoken about her battle with self-harm)

That is not to say, too, that celebrities exposing their worst moments cheapens the severity of self-harm and distracts from the thousands of non-famous sufferers who are unable to find light and reticent about talking to anyone. There are many great mental-health charities but I want to, again, put the Samaritans’ contact details into the ether for anyone who thinks they might be suffering mental illness. I said the subject of self-harm was complex…it very much is. One might self-harm because of pressures at home or broken relationships; stress at work or an exacerbation of depression. There are countless combinations and reasons why an individual would let their tension out in such a way. Having someone famous/well-known step-up and talk about their demons is empowering and, as I also said, will provide comfort to many – showing famous artists are the same as everyday humans. I want this week to lead to change and continued conversation where mental-health is given as much prominence as any other illness. One need only look at the posts on social media and realise the personal and affecting stories of those afflicted by mental illness are not isolated. The issue is growing and we need to oxidise the ever-growing beast of mental ill health. Music is one of those industries that is especially prone to those who suffer psychological issues.

Willow Smith is one of many musicians who, over the years, have told about their struggles with self-harm. I hope her revelation and backstory stays out there because there are many who will be going through the same emotions – whilst the reasons for self-harming are not the same – and require that comfort and guidance. We have seen Willow Smith speak but I wonder whether her, and many other people’s, story will lead to more funding – both here and in the U.S. The NHS is stretched to the limits and I wonder how our Government will adapt to the growing wave of mental illness; a problem that is raging like wildfire. I feel big names talking about mental illness/self-harm are taking big risks. They have record labels (many do) and there is a certain ‘box’ they need to fit into – the commercial risk of talking about mental illness could cost more than money and dropped sales. Instead, more conversations will flare and others, in time, will feel less stigmatised regarding the weighty conversation of self-harm and mental-health. I hope those afflicted by dark thoughts and self-harm will find some light and relatability in Smith’s words – and her musician peers who have had to hide their issues and felt afraid to come forward. It is a nightmare and horrible situation when you are moved to the point of cutting yourself and having to keep that secret. Whilst talking about it might seem embarrassing or upsetting; doing so, to a family member or a profession, is…

PHOTO CREDIT: Unsplash

A very big and brave step.

FEATURE: Running on Empty: Exercise and the Benefit on the Creative Mind

FEATURE:

 

Running on Empty

ALL PHOTOS: Unsplash 

Exercise and the Benefit on the Creative Mind

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WITH the weather changing…

and the sun staying out for longer, there is hope the coldest temperatures are behind us and we will have more sustained periods of warmth. The weather is still changeable and unpredictable – being Britain, we are never too far away from some miserable downpours - but there is a great chance to improve the mood and capitalise on the clement conditions. It is Mental Health Awareness Week, and so, there are many talking about their experiences and how mental illness affects them. Musicians, especially, are prone to mental-health struggles and are under a lot of stress. I am reading so many stories of working endless hours and pushing themselves to unhealthy lengths. The hotter the weather gets, the more (musicians) are prone to widening their ambitions and planning for festivals. That push and drive might take the form of increased gigs or more time on the Internet, contacting venues and getting warm-up gigs booked. I am in a position where I have a new (temporary) job where I will have less time available to review and interview musicians – something that has given me a lot of fulfilment. I will not get a lot of time to be outside and will spend most of my days/hours in an office. I feel we are all spending too much time locked away and not really getting out there.

Maybe longer working hours and the cost of a night out means we are keeping ourselves inside and cloistered. Even if we have some spare time at the weekend, I wonder how many hours we spend outside and getting into the open. I mentioned musicians and wanted to write this piece because of the effects of exercise and physical activity on the creative process. We are all more stressed and in-demand so it is natural we would spend any free time unwinding and chilling: expending more energy seems counterintuitive and a struggle. There are articles available that explain and prove the link between exercise and creativity:

“Feeling good is not trivial. By necessity, studies hew to the quantifiable aspects of the relationship between exercise and creativity, namely defined types of cognition. But creativity, itself a fuzzy term, flourishes in ways that go well beyond divergent or convergent thinking. Certain emotional states, such as feeling good—and thus having low anxiety and fear—helps induce the flow states that are foundational to creative work…And scientists would do well to listen. Because, although the number of artists regularly exercising may not fill a yoga class, those who do illuminate many aspects of creativity that remain unstudied. Beyond mental dexterity, they tell us that creativity thrives when there is emotional balance, models for practice, and an array of tools at hand, not to mention ideas in which the muscles, too, can revel”.

A 2013 article explained on the premise and offered another angle:

“Specifically, researchers noted that regular exercise seems to be associated with improved divergent and convergent thinking, which are considered the two components of creative thinking; the former involves thinking of multiple solutions for one problem, while the latter involves thinking of one solution for a problem.

“Exercising on a regular basis may thus act as a cognitive enhancer promoting creativityin inexpensive and healthy ways,” study researcher Lorenza Colzato, a cognitive psychology at Leiden University in the Netherlands, said in a statement”.

Maybe these findings and facts are not new to us at all. What is known is that regular exercise can aid creativity and lead to clarity and a less stressful mind. If one balances the benefits on the creative mind and the nourishment exercise gives to the body, then we can all justify getting out there and being more active. It does have to be anything as full-on as running and long distances: a brisk walk or routine trek around the block can do wonders. Dedicating a set amount of time each day can get the body moving, mind cleared and the creativity part of the brain working and imagining. Many might argue it is hard to commit to regular exercise and it is hard finding time from their busy schedules. I guess, in many ways, one does not have to leave the house to get some exercise – it might be smutty and explicit, but we can all understand where that train of thought is heading…

What we are all exposed to, in the music world, is an overload of information and a cyber lifestyle. If we are not browsing and glued to phones for most of the day; we are on the laptop working on stuff and on social media. Away from eating and sleeping; are we all getting sufficient exercise and air? One can argue the health risks, for anyone, of spending too much time indoors. Forget the serotonin and mental benefits: ensuring we are physical activity means we can maintain a healthy weight and do not get into bad habits. If we become too isolated and do not exercise then that can have devastating effects on our general health and wellbeing. Music is as physical a job as any out there and (during gigs) requires a lot of energy and physical commitment. In order to maintain a level of fitness that means gigs are not daunting and a shock to the system; it is prudent to get into a regular cycle of exercise to ensure the muscles are kept trained and healthy – so they do not atrophy and cramp. That may sound extreme but the workout and level of commitment need not be that daunting. Rather than running a few miles each day; perhaps walking a couple of miles a day would be a good compromise – getting into the good weather and finding time to detach from all the strains and information of the music business.

I feel musicians, as I said, are under undue pressure and tend to spend too much time online and lacking necessary energy to exercise and take some time out. The multiple benefits of regular activity and exercise are clear: the creative mind is sharpened and the body is afforded care it needs. We are talking about mental illness and stress and cannot do so without recognising exercise and sunshine. I know something that simple is not going to cure depression and provide a cure for anxiety – mental illness is complex and there are a number of things that need to be considered when affecting a cure and solution. It is a perfect time of year to get into a better headspace and promise yourself more time outside. It is hard juggling the online demands and mustering enough energy to get up and remain active. Maybe starting off with a few days a week of fairly strenuous activity and it is a positive step in the right direction. It is wonderful what a brief amount of time out in the warmer weather can do to the mind. Not only is the mood lifted but that creative region is stimulated and primed; the body is touched and every part of you is engaged. If you can throw in a social aspect then that is so much better.

Mixing sociability with exercise, even for a little time each week, can improve mental-health and, if you can form a routine, it is a great balance between time inside/online and being outside in the fresh air. We are all looking about for ideas and solutions when it comes to the mental-health crisis that is before us. There is no single cure for everyone – something as mundane and simple as physical exercise is going to be the answer. Rather than see it as a ‘magic elixir’ then consider it one of the steps to a more improved and healthier mind. There are many I know who have suffered from depression and other mental illnesses and found their mood has been lifted immeasurably by regular exercise. I shall end things here but wanted to urge people in the industry – and in the general public – to have a look at how much exercise they get and how much time they spend inside. We could all probably stand to do a bit more and earmark more time to unwinding away from our screens. It is getting warmer and the days are growing longer: a fantastic opportunity to stretch the legs and blow away the cobwebs. It isn’t a hard-and-fast-rule but the benefits of exercise are proven and are especially helpful to those in an industry like music. Not only does it help you get match-fit and stimulate the creative part of your brain; it helps improve mental wellbeing and can lead a much…

 HEALTHIER life.

FEATURE: The Rise of the ‘Superfan': Those Keeping Vinyl Sales Burning Bright

FEATURE:

 

The Rise of the ‘Superfan’

ALL PHOTOS: Unsplash 

Those Keeping Vinyl Sales Burning Bright

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THERE is a good reason why I return to the subject…

of vinyl and its popularity. Over the weekend; I will explore radio and getting into the industry – collating guides and pointers from those in the industry. Today, an article caught my eye that deconstructed the purchasing habits of those who love their vinyl. Record collectors spent more than $200 million (£147 million) at the online marketplace last year. The Beatles’ promotional seven-inch single, Love Me Do, was the top request: Pet Shops Boys and Prince were included in the top-five. An article published by the BBC laid out the statistics:

“A hardcore of 'superfans' buy more than two-thirds of all the vinyl records sold in the UK, according to new data.

The Entertainment Retailers Association (ERA) says these collectors fork out more than £400 every year, accounting for 72% of sales.

With the average LP costing £20.31, superfans are each purchasing at least 19 albums.

The figure illustrates how niche the "vinyl revival" is, despite record-breaking sales over the last few years.

In total, 4.1m vinyl albums were sold in 2017, the highest number since the 1990s.

But the format only accounts for 3% of the total music market, and in 2015 a BBC/ICM poll found that almost half (48%) of the vinyl records people buy never get played”.

We can extrapolate a couple of things from the statistics: the fact the majority of vinyl purchases are by ‘superfans’ means other people are less interested: maybe there are spearheading a mass army that is bringing the honesty and physicality back into music.

I would split my mind between the two: the fact so many buy an arm-full of records each year means they want to keep the passion alive and connect deeply with the music; there is still the need to recruit others and create a better split between digital and physical. I am one of those who spread themselves across all formats. I have wallets full of C.D.s for the car; I am on Spotify, YouTube and SoundCloud when reviewing and at the laptop; I have my case of vinyl for when I need to unwind and experience music at its very finest. The article I quoted above stated the ‘superfan’ dominates the Blu-Ray market: there are fewer when it comes to D.V.D.s and C.D.s. Maybe it is the sheer size and force of a record. It is like carrying home a new-born baby to obsesses over and have. The C.D. is great – I am keeping the market propped-up on my own! – but it is easy to chuck them away and not really drool over them. Digital music is great but we take a much more casual and fast-paced attitude to the format – playing loads of songs and skipping through without digesting what is being said in some cases. With Record Store Day still in the memory; it seems the communal shop experience is vital to record lovers.

The price of vinyl, as I have said before, can be damning and eye-watering. I have been looking around for some new records and, even if they are not mega-successful and popular; they can cost anything over £20. What amazes me is how much one can spend when they get to a record shop. You go in looking for one thing and then, before you know it, you have four or five other L.P.s under the arm and are spending anywhere close to a hundred quid! Maybe the trip down to your favourite vinyl spot is a rarity: when you do go down, you are spending a lot and buying quite a few records. That is a different dynamic to buying C.D.s or D.V.D.s, for instance. It would be good to see more pressing plants so we can produce a lot more records. I am not sure what the costs are involved with making a record but the extra money coming into the industry – can we not build more spaces, factories or local presses, when we could make a record more effectively and cheaply? I appreciate it is a big process making a record and printing on the sleeve etc. but I wonder if the high costs are excluding those testing the waters – the ‘superfans’ are still the ones who will overcome anything to get their hands on some vinyl.

I wonder if there is a pragmatic way of lowing production costs and ensuring we tempt more buyers in. If you look at a C.D. and the size of it – is it too unreasonable to ask £20 for a record when a C.D. costs only half that?! I know the ‘superfans’ will not mind shelling out but some in-store loyalty programmes could be implemented where they get discounts for bulk-buying and loyal custom; promoting seven-inch singles and smaller vinyl so that people can get a taste and bond with the format. We have to ask ourselves, over the past few years: who are the ones buying vinyl? A 2016 article found some interesting results:

“Those who have recently purchased a vinyl album are most likely to be aged between 45 and 54, apparently. In fact, those in the 18-24 age group are the least likely. It is not just an act of hoarding by hobbyists, either – it has emotional significance: older vinyl buyers are slightly more likely to keep their feelings to themselves (56% of vinyl buyers versus 53% of all UK adults) and enjoy being alone (69% of vinyl buyers versus 66% all UK adults)”.

Fortune followed that up a year later:

“The demographic responsible for the comeback is actually 18-24 year olds, an interesting age group given that they likely grew up buying digital copies of music rather than physical ones, unlike older generations.

 One in four people in the 18-24 demographic said they had purchased a vinyl record in the last year, with a good number of those indicating they purchase a new vinyl each month. 83% of the age group has purchased some sort of physical media in the past year (DVDs, books, CDs, records), which is much higher than the 76% average across all age groups”.

It seems the shift has gone from the middle-aged to the younger listeners: those who grew up around their parents’ vinyl collection are carrying on that trait and spending their cash on records. Whilst there is no real age and profile of what a ‘superfan’ constitute, some worrying research shows that nearly half of all vinyl purchases are not being listened to:

“…But new research suggests that while more people, notably young people, are buying into vinyl, a lot of them aren’t actually playing the records.

An ICM poll, shared with the BBC, says 48% of people who bought vinyl last month have yet to play the record. Some 7% of those surveyed said they didn’t even own a turntable, while a further 41% said they have one but don’t use it. We humbly suggest people could rectify this situation with one of our recommended turntables”.

It is concerning so many people have vinyl as a piece of art or never actually putting it onto a turntable – does it matter what we do with a record and how we see fit to display it?! Maybe we should recommend turntables as heavily as vinyl. Does that mounting expense put people off buying an L.P. in the first place? Are the younger generation more concerned with nostalgia, a lost beauty and physicality – the middle-aged and older buyer continuing as they did as children and unwilling to bend to the digital dominance?! Those loyal and much-reliable fans are pushing up vinyl figures but it would be good to see more money provided to the industry so we can keep record stores alive and expanding. The perfect experience would be to see a singular space for everything vinyl – records ordered according to gene and hardware (headphones and turntables) in another section; have singles and rare memorability in another part. Having a nice and clean décor would attract in those younger listeners but, rather than them walking away with vinyl as a fashion piece – they would learn about all the components and have someone, you’d hope, in the store who could talk about the tech and turntables. I guess, regardless of what people are buying records for; the fact they are popular and still resonating is the main thing!

Those so-called ‘superfans’ are the people who, through economical high wind and rain, are coming out in droves and scouring through racks and crates of vinyl. I am glad all ages are engaging with records and we can mix streaming and digital tastes with the physical and long-playing. Kudos to those who continue to keep vinyl alive and in rude health. I am confident this side of the market will continue to swell and expand as time goes on. It is that loyal core that helps keep the figures impressive and hopeful. It would be good to see more people actually play records. I can understand it is quite a cumbersome and energy-consuming – compared to digital means – but the experience is wonderful and ever-lasting. I will end things here but I cheered to hear about the continued success of vinyl and those hardcore fans who will accept no alternatives. I want to see all physical means survive – vinyl has a particularly fond place in the heart and is a combined artistic and audio experience. If we can encourage growth across all ages and enhance the necessity of playing records – in addition to sporting them as items of art – then that will encourage a wave of interest that will last for generations. Respect to the ‘superfans’ who, whilst they do not wear capes, have a love and curiosity that is impressive indeed. Seeing that kind of hunger and loyalty makes the news is…

DEEPLY impressive indeed.

FEATURE: We Are United: The Mental Health Awareness Week Playlist

FEATURE:

 

We Are United

ALL PHOTOS: Unsplash 

The Mental Health Awareness Week Playlist

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THIS week…

is an important one we should all mark. It is Mental Health Awareness Week and many people are reflecting and sharing their story. I am one among the millions affected by a mental-health problem: so many people have to live through a daily regime of anxiety, stress and depression. The subject and nature of mental illness is a spectrum that many people misconstrue – it is not as simple as someone being ‘depressed’. We cannot treat mental illness as a binary thing in 2018! Even though, for many, talking does little to resolve the enormity of their burden; there are options out there but the solution is a lot more challenging than most assume. There still is a stigma attached to mental-health and fighting illnesses like depression. This week is intended to help those who are going through bad times and raise awareness of a problem that is growing larger and more severe. Organisations and charities like the Samaritans are available to talk to and are free-of-charge. Music is there for people and a way of coping with the worst sides of mental illness. I have compiled a list of songs that either address mental illness or lift the mood – designed to, at least. It is important, as the week goes on, to keep the message alive and use the hashtag #MentalHealthAwarenessWeek. There is not an easy and quick answer to the epidemic of poor mental-health but the more we raise awareness, the quicker we will be able to…

SOLVE the problem.

FEATURE: Spaß Ist Verboten! Are We Getting the Work-Life Balance Right?

FEATURE:

 

Spaß Ist Verboten!

ALL PHOTOS/IMAGES (unless credited otherwise): Unsplash 

Are We Getting the Work-Life Balance Right?

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ONE of my biggest faults in life is…

spending too much time on the laptop and not really venturing outside. Maybe that is where I am based at the moment - better designed for relaxation than fun and sociability. That is all well and good because, when things get stressful and busy, it is good to step outside and take in some fresh air. I am looking around music and seeing so many people burning out and stressing about things. This is another topic I have written about before but I feel, more and more, we are not cutting loose and giving yourself some time off. The reason I chose the photos I did to lead the article – the thumbnail and main image – is because it is, obviously, quite arousing and eye-catching. It denotes a mixture of relocation and sex; a chance to let things go and close the eyes – I could have chosen a boring stock photo, but I felt the one above better represents what I am trying to say! Maybe a social life is more expensive than previous years but so many people in music are spending their time working and unable to switch things off. Even those who love music are spending their free time listening to music. I do it myself but wonder whether that is the best advice. Should we always be isolated or busy working; when do we really get a chance to step away and actually have a social life?

The more stress levels rise and mental-health problems exacerbate; the harder it is to discover a common remedy and guidance. So many of the musicians and creatives I know are single or in a challenging relationship. Their sex lives are quieter or non-existent and they are getting out into the world a lot less. My average day – whilst I am not working full-time – consists getting up and switching the laptop on at 7 A.M. I will work until 9 P.M. and have few breaks in that time. I am typing a lot and remaining quite distant from other people. There are a lack of young bodies in close contact with my home but I could get away and take a trip to London or somewhere else – drive down to the beach and amble there. I keep writing about issues like social and work balance because we are becoming more and more enslaved by technology and jobs. Musicians are among the hardest-working and most obsessive people out there. So many are turning to dating apps/sites – such as myself – and we are less confident getting into bars and busy areas and talking with people. Maybe it is a symptom of the digital age but music demands so much time of their faithful. Is it easy to switch from an open-all-hours approach and creating a finer balance?

It is hard to go from that full-throttle dedication to music to stripping it back to a part-time basis. Many people are working full-time jobs and doing music on top of it. The reason for this is simple: keeping the money in and being able to do what you love. I respect that sort of loyalty and passion but I wonder whether there is a human toll that is taking too much out of us. Can we quantify the psychological and physical cost of working endlessly and putting pressure on our shoulders?! Not only are we all self-critical and hard on ourselves; the music industry itself sets ideals and guidelines that we struggle to live up to. Many artists are touring every moment they have spare and, aside from the chance to drink after the show, they are moving to the next town and barely resting. We are watching screens and social media figures; work is dominating our lives and any free space we get involves watching T.V. or spending it at home. I have written about musicians and dating: how many have little time to date and there are few spaces/websites where likeminded artists/creatives can find one another. It is a topic I want to revisit because I feel a lack of physical connection and relationships is having a damaging effect. It does not necessarily mean sex or something casual: how many of us think we have time and energy to commit to something real and long-lasting?!

I am among many who struggle to create any sort of peace and fulfilment away from music – which has its benefits and fulfils me in a different way. A piece written back in 2015 is relevant in 2018 – music and its demands are as pressing and obvious:

“While many may envisage the life of a touring musician to be that of a glorified jetsetter, the reality is far from idyllic. A recent study by charity Help Musicians UK found that over 60% of musicians have suffered from depression or other psychological issues, with touring an issue for 71% of respondents.

Singer Alanna McArdle recently announced her departure from Cardiff punk band Joanna Gruesome for mental health reasons, her statement hinting that the strain of touring may have been a factor in her decision to quit.And when Zayn Malik broke the hearts of millions by pulling out of One Direction’s tour of Asia – leaving the boy band shortly after – a source close to the band told the tabloid press: “Zayn went because he’d had enough. Have you ever been on the road for four years? ”

“The classic image of a touring musician would seem counterintuitive to all we know about well-being,” says Isabella Goldie of the Mental Health Foundation. “Drinking in moderation, avoiding drugs, getting sufficient amounts of sleep, and having a support base of close friends and family nearby. These are the bonds that help keep you grounded ... It’s no surprise that some musicians struggle”.

IN THIS PHOTO: Kate Nash/PHOTO CREDIT: Kelsey Hart/Little Ghost

Musicians are spending hours a day in vans and small spaces and being shuttled between airports. There is that transitory and nomad lifestyle that means there is no stable home and many get time to embark on relationships. It can be hard maintaining bonds with people who work different schedules and do not understand the demands of music – I know more musicians who are single than those in relationships. Artists like Kate Nash have spoken about her early career and how she was overworked and did not give herself a break. She has spoken about body-shaming and how she was called unattractive or overweight online or in the media. The need to ‘conform’ and look a certain way, coupled with the pressures of performing and keeping in the public eye could have had a devastating impact on her. She eventually stepped aside and gave herself a break – she is back in full swing now but a slightly less hectic schedule after that early burst has been a life-saver. Nash, in her early career, was living with her parents and did not have much time and space for a relationship. Many have that problem: not earning enough to be independent or, if they are, they feel they need to be working non-stop and ensuring people do not forget about them. The more competitive and open music becomes; the more artists have to push and promote their work.

Touring and having to play so many gigs – either because they do not pay much or you need to put that graft in – can create routine and give an artist a safe headspace. They know where they need to be and there is some sort of order involved. There is, as the aforementioned article says, a danger of the touring lifestyle:

“For many, the contrast between the highs of a successful show and the anti-climactic low that often follows can be hard to adjust to, a phenomenon that has been termed “post-performance depression’, or PPD. Mental health professional John C Buckner writes: “When the body experiences major shifts in mood, it is flooded with several different neurotransmitters, resulting in a biochemical release that leads to a feeling of ecstasy. After these moments the nervous system needs time to recalibrate itself to prepare for another release. After an exciting performance the body starts to balance out the level of neurotransmitters, and therefore it is not releasing the same level that caused the exciting feelings, resulting in the lingering sadness. In normal day-to-day life, biochemicals are released and rest/recovery follow, causing the typical ups and downs of life. In the case of PPD, the process is more extreme with higher highs and lower lows”.

There is a lot to digest and ponder when it comes to the modern musician. We can widen the remit and apply these considerations to others in the industry – from D.J.s and producers to journalists.

There are dark psychological traps and perils that face artists. They have little stability and work fiercely; relationships are lost/not started and there is that odd danger of stopping touring and having that brutal comedown. I have not even spoken about depression and how anxiety can be heightened when you feel you always have to be out there and working. We know the dangers and drawbacks but I wonder how many people are brave enough to take a stand and lead a fight – whether such a rebellion will ruin a career or be met with silence? I know there are artists who get out and socialise; many have healthy relationships there are many, you’ll be relived, who are happy and would not change things. I know many more who have staggering amounts of work to do and tour every day but like what they do. I guess, if you are satisfied and not feeling the strain, there is no real need to worry and change that habit. One of my biggest fears is we are sublimating true feelings to create that façade of content and happiness. I realise I work too long on the laptop and have that desire to put out a lot of good articles a week. My inbox is always busy and demands come in by the shed-load.

I used the image of a pouting, beautiful woman at the top – and a scantily-clad one below – to lighten the mood and, yeah, highlight the sort of fun, relax and sensuality we need to embrace. I am not going all Zen and Buddhist – even though I am sporting some pretty colourful healing gemstones/chakras. Are we all suffering social malabsorption and becoming anaemic? It can be hard finding contact and sociability if you live outside the city. Even if you are there, the cost of a night out can be quite daunting. I am not suggesting we all spend every night on the piss – a more pragmatic and mature approach to fun needs to be adopted. There is so much talk around mental-health and the wellbeing of musicians. Mental Health Awareness week kicks off on Monday there will be discussions around the rise in mental-health issues and its detriment to the industry. It seems like a perfect place to promote wellbeing a better work-life balance. Look at other nations and the way they approach the working week: fewer days being spent at the office and a more organic and healthy life. I feel we should all find a few hours a day to step away and completely disconnect from all technology. We need to find time during the week to go out and not feel the need to be involved with music and working.

Getting into that addiction where we forsake pleasures and fun and spend all of our free space working is not a good thing. Sure, we may love touring, recording and writing. If we detach and suddenly stop that; you will get that cold turkey approach and rapid detox – realising how dependant we are and what a shock to the system that transition is. I suggest a gradual easing which means the mind is focused on music but more time is found to explore the outside world, social elements and a general relaxation. It does not have to be anything as committed as a relationship or a regime/hobby: dedicating some valuable time to bond with others and not feel chained to your world not only benefits the mind but the body too. It is easy for me to say all of this – and will probably ignore my own advice – but I am worried about the plight of artists/creatives and how much is expected of them. They put so much pressure on themselves and feel guilty of if they give themselves a night off. It is understandable but, the more and more we get into that rut; it will cause long-term problems and make it harder to detach from. Make sure, whatever you do in music, to think about the time you put into work and ask yourself this question: do you really allow yourself…

ENOUGH time to breathe?

FEATURE: The New American Dream: Overcoming Hurdles and the Importance of Fulfilling Ambitions

FEATURE:

 

The New American Dream

 ALL PHOTOS: Unsplash 

Overcoming Hurdles and the Importance of Fulfilling Ambitions

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I have been sending emails out to various people…

with regards a project I am working on. I have talked about a music T.V. show and how important it is to get it out on the screens. I have also discussed the importance of keeping dreams alive and not being deterred by any obstacles. That second point, invariably, comes back to mind. I have been affected, like many, by the death of Frightened Rabbit’s Scott Hutchison. Not that this should be a blanket excuse for confession or a re-evaluation but it seems, when a great musician passes, there is a wake-up call and moment you have to look around. Whilst my challenge to transition to Manchester – moving areas and getting a job up there – is ongoing and (slowly) moving forward; music, inevitably, takes focus and keeps me moving in the right direction. A music T.V. show is not the only idea I want to get out there and make a reality. One of the reasons I have been revitalised to fulfil an ambition is an email back from D.J. Chris Hawkins – he presents a weekly early-morning show on BBC Radio 6 Music. I pitched the idea and wondered if he knew anyone (production companies or the BBC) would be interested in it. It is in the concept/early stages but the idea is simple: a show that harks back to The Old Grey Whistle Test and modernises it; keeping the performance element strong and featuring the best and most essential artists of the moment.

The response I got back was positive: to try the BBC – get them to pay for it – as they have commissioning rounds and it is the best place for it. The exchange was brief but it gave me hope that one of the biggest names in radio felt my idea was worth pursuing. I have been questioning the validity and strength of it as, when I pitch to production companies and gauge feedback; they want financing and do not look at unsolicited ideas without all the expense being raised. BBC is different in that they would finance it themselves – getting it commissioning, ironically, usually needs a production company behind it! It might be harder than going directly to the BBC but it seems, in terms of the weight of the idea, it holds plenty of scope and future. I am now determined to see it through to the end and make sure it gets a commission – even if I do not know what the title is of it yet! It got me thinking about other people in the industry that are deterred and deflated at the moment. Mortality and tragedy affect everyone but I think, more and more, the pressure and weight of expectation elevate desire and gets us all thinking loftily. I am seeing many revise their plans and downgrade their ambitions.

It is not the case that only established musicians and radio personnel, for instance, can get things done and make a difference in the world. It is harder for those with less clout/money but it is never lost. We all have to burden a certain stress and self-doubt and it can be hard seeing things through or thinking we are going to make it. What I am noticing is more and more people giving things up and doubting that they are capable of. I think now, in music, ideas and inspiration are needed more than ever. We have a lot of work to do and one is always looking for breakthrough and guidance. Among the plans I have heard from others are businesses to subsidise and keep venues open; a mental-health charity for musicians – some exist but one that is actively going out and helping those in need – and various other schemes. I am always impressed seeing musicians and creative people look beyond what they do and resolve to change things. I, for my sins, are hugely ambitious and want things to happen right away. I have, in the past, aimed to get a music café set up and a music website – which I am still keen on – in addition to a charity and a label. They are all quite lofty and expensive but the reason I wanted/want them to succeed is the gaps in the market.

A music T.V. show ties all of that together in its way and would fulfil all the other dreams. It has focused my mind and, regardless of cost and size, I want to take it step-by-step and keeping on top of it. I am aware other people might be working on similar ideas – just my luck I will get beaten to the punch – but the fact there is clear demand and need has spurred me to reach out and see what can happen. It is important not to abandon ideas and dreams because they seem too hard and appear far-fetched. I have often been downbeat and disheartened by rejection emails or big budgets; people saying it will not happen or there is a narrow market. I will, I hope, realise all the ambitions I have ever had when the ball starts rolling. I know what my first outing is going to be and would give a message to other creatives out there: if you have something in your head, do your research and keep a level head. It can be easy running forward and imagining how things will be and how good it is all going to look. When you do strike a nerve and have that realisation; you want it to be fulfilled and happen right away. I am in that same boat: I have learned to give it time and have faith a good idea will realise itself.

There are some big problems in the music industry and big holes that need filling. It would take a dedicated team to decide all the tangles and formalise improvements to make music stronger and more inspirational. From tackling mental-health issues and providing financial support to artists; I have heard of ideas and plans (from other artists) to do something about it and push things forward. I want to see so many things happen but understand why some people lose a bit of faith when things get rejected or shut down. We are told the American dream is reaching a Promised Land and having opportunities and a wonderful life. We know, in 2018, that fantasy is complete bullsh*t: America is ruled by a dictator and its desirability is debatable and waning. Gone are the days of getting a job and being able to do anything you want to do in the land of the free and the home of the brave. I can apply that to music and the dream that used to arrive into our ears through T.V. and print: you can be famous and make a big name for yourself in the industry. Maybe modern-day reality/talent T.V. shows propagate a modern-day version of that ideal. There is something toxic and misleading promising artists fame and fortune is they put their mind to it – some people can achieve that but most do not.

The biggest lesson we should be teaching is that everyone can make a difference; those smaller and personal ambitions are important and should not be downplayed. I have all these heady goals but something like a music T.V. show is quite modest. It will take time and compromise but I am eager to get it all shaking and have things happening. Others, who are doubtful of their chances, are scrapping ideas and feel they cannot make a success of things. The same goes for many musicians out there. There are those who want to get onto the big stages and get into the mainstream but feel the weight of competition and options out there mean they will never get there. Things take time and an instant gratification and realisation does not equate to failure and hopelessness.  There is a need out there and, if something feels right and promising, it is worth taking up and seeing how far you can get. Even if you are unable to realise an ambition or personal goal then set a new one and start from scratch. Things are hard but perseverance and tenacity are vital commodities. Not being defeated by the first slap of reality is a crucial discipline that can get you a long way. I will keep going with my T.V. show dream and will keep everyone abreast of its progress. To anyone out there who has any doubts and feels they cannot get where they want then take a lesson from me. I am one of those people who can feel a bit hopeless when someone says I cannot do it or an idea I have it too ambitious. Now, as I focus my mind, those doubts are still there – I will not let them dominate and influence my course. Keep a resolve and strong head because, even if you do not realise it now, the music industry sorely needs…

YOUR dreams and desires.

FEATURE: Latin Tongues and Exotic Rhythms: The Best Albums to Expect in June

FEATURE:

 

Latin Tongues and Exotic Rhythms

 PHOTO CREDIT: Unsplash 

The Best Albums to Expect in June

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MAY is still producing…

IN THIS PHOTO: Kamasi Washington

sensational records but, for my money, June is the strongest month of the year so far – if you look at all the quality among the list below. I am, personally, excited to see Kamasi Washington’s Heaven and Earth arrive. It is a double album of Jazz wonder you will not want to be without.

Included in the June rundown are efforts from Let’s Eat Grandma, Father John Misty; Nicki Minaj, Lykke Li and Lily Allen – enough for the hungriest of music fans to get…

IN THIS PHOTO: Lily Allen

THEIR teeth into!

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

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PHOTO CREDIT: Pari Dukovic for The New Yorker

Father John Misty – God’s Favourite Customer

Release Date: 1st June

Genres: Indie; Indie-Folk

Label: Sub Pop

Ben Howard - Noonday Dream

Release Date: 1st June

Genres: Singer-Songwriter; Alternative

Label: Island Records

Boy Azooga - 1, 2 Kung Fu! 

Release Date: 8th June

Genre: Alternative

Label: Heavenly

Jorja Smith - Lost & Found 

Release Date: 8th June

Genre: R&B

Label: FAMM

Gruff Rhys – Babelsberg

Release Date: 8th June

Genres: Alternative; Indie

Label: Rough Trade Records

Lily Allen - No Shame

Release Date: 8th June

Genre: Pop

Label: Parlophone

Lykke Li - So Sad So Sexy

Release Date: 8th June

Genres: Alternative; Indie-Pop; Art-Pop

Labels: LL Recordings; RCA Records

PHOTO CREDIT: Neilson Barnard/Getty Images

Nicki Minaj - Queen

Release Date: 15th June

Genres: Hip-Hop; R&B

Labels: Young Money Entertainment; Cash Money Records

Rolling Blackouts Coastal Fever - Hope Downs

Release Date: 15th June

Genres: Guitar-Pop; Indie-Rock

Label: Sub Pop

Kamasi Washington - Heaven and Earth 

Release Date: 22nd June

Genre: Jazz

Label: Young Turks

Let's Eat Grandma - I’m All Ears

Release Date: 29th June

Genres: Art-Pop; Experimental

Label: Transgressive Records

FEATURE: By Hook or by Crook: Do Collaboration-Heavy Songs Add Something to Music or Are They Cheaply Commercial?

FEATURE:

 

By Hook or by Crook

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

Do Collaboration-Heavy Songs Add Something to Music or Are They Cheaply Commercial?

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YOU can’t argue against the fact…

IN THIS PHOTO: Rita Ora

Girls, a song that has been in the press recently, boasts some pretty big names. Rita Ora leads the track but is joined by Charli XCX, Cardi B and Bebe Rexha. The single’s artwork (above) is eye-catching and it seems, from the outside, to be a confident and sassy hook-up among four women who at the top of their game. Whilst the song itself is not a complete train-wreck; many have argued it is not worthy of such hype and crowding. I wonder whether Ora could have delivered the song herself or trimmed the numbers you see on the track. I am a fan of Cardi B and she adds a little something to it – the collaborators on Girls seem to be there for the ride. It has been accused, by Hayley Kiyoko of providing a somewhat naïve and ignorant view of homosexuality. Looking at this article in Vulture, you can see her point:

“The topic of girl-on-girl has long been a staple of pop music, but as more openly queer artists make their mark on the industry, the more their perspective complicates the notion of singing about kissing a girl, and liking it, just for the titillation factor. Singer Hayley Kiyoko, whose fans famously call her “Lesbian Jesus,” took to Instagram on Friday to express her concerns about Rita Ora’s new song “Girls” featuring Cardi B, Bebe Rexha, and Charli XCX. The song, Kiyoko says, offers a “tone-deaf” fantasy version of queer and lesbian relationships….

…Pointing to lyrics like “Sometimes, I just wanna kiss girls, girls, girls/Red wine, I just wanna kiss girls, girls, girls,” Kiyoko says in part, “I don’t need to drink wine to kiss girls; I’ve loved women my entire life. This type of message is dangerous because it completely belittles and invalidates the very pure feelings of an entire community.” Writes the singer, “We can and should do better”.

There are some obvious points to take from this. Chief among them is the rather foolish and commercial lyrics. I am not sure who wrote the lyrics – whether the artists themselves penned it – but there is more besides a tone-deaf view of sexuality that stands in the mind. Whilst offence can be detected and addressing a subject like homosexuality needs to be dealt with (with) greater care; the quality of the song is not exactly sky-high. Here are artists of the mainstream who, between them, command millions of fans and inspire legions of fans. Whilst the message of Girls paints experimental and harmless tones – getting a little tipsy and kissing – there is a concern these lyrics are sending a bad message to the fans –  a clumsy and ill-thought-out portrayal of gender and sexuality. One of my biggest gripes concerns quality and the need for so many people on one track.

PHOTO CREDIT: Unsplash

It is more endemic of the streaming age we live in; the fact so many songs have endless names appearing on them. Girls is not the villain and sole culpable when we look at this problem: look at the weekly Spotify playlists – their New Music Friday – and you will see those songs that seem to feature everyone in the music industry! I can see where Girls is coming from: assembled a quartet of confident and popular female artists to perform a song that, in many ways, speaks to the experience of their demographics (the teen and pre-teen audience). I am not a gigantic fan of any of the four singers on the track but I wonder whether feature-heavy songs are a way of racking up Spotify figures and have commercialism in mind. If you were throwing four exceptional names in a song that stuck in the memory for years then you cannot argue: putting together four eminently commercial and of-the-moment artists into one song smacks of money-making and ‘hits’ – seeing how many views and streams we can get for this star-laden song! I guess it would be naïve to mention how commercial artists are more interested in profit, online success and winning the race – they should be more concerned with creating influence and making quality material. Pop music is changing a bit so that new artists are looking inwardly and writing from the pages of their diaries.

Whilst there are fewer collaboration-rich songs around, I still feel the market is too saturated with packed and muddled songs. Look at the greatest collaborations of all-time and one goes to the duet – a big artist brings someone else into their world and has something added to the music. The reason why artists join forces is to maximise quality and mix ingredients that lead to wonderful music. From Eminem and Dido ‘duetting’ on Stan; Elton John and Kiki Dee’s Don’t Go Breaking My Heart; Aretha Franklin and Annie Lennox, Sisters Are Doin' it for Themselves – getting that balance right can lead to something exceptional. Fairytale of New York and 7 Seconds have that perfect blend; Don’t Give Up and Crazy in Love – Under Pressure (David Bowie and Queen) ranks as, perhaps, the best duet. It is not only the duet that appeals: you can create a fantastic song by adding three or four voices together. I am casting my mind back to a collaboration that actually stuck in my mind; one from the past few years that has lodged in the brain. There may have been one or two but, when I think of the best songs around, they are recorded by a band or solo artist (or a duo) – they do not rely on other people coming together.

Look at all those legendary duets – most recorded decades ago – and you can see what happens when you have an incredible song and fantastic artists to deliver it. Now, there seems to be the opposite approach: the quality can be so-so but, as long as you toss so meaty names together, it will sell and start trending. A BBC article, published in January, provided some worrying statistics:

“Nearly a quarter of the current UK top 40 is made up of tracks credited to more than one artist.

There's nothing too new about that, but if the first week of 2018 is anything to go by that could soon be on the rise. Rita Ora, Bruno Mars and Charlie Puth are part of collaborations already released this year, while the likes of Justin Timberlake and Mark Ronson are also set to unleash projects”.

You look at those names and a part of you shivers – they are artists who are now renowned for epic quality and are as Pop as you can get. If one-quarter of the charts is based on hook-ups then you have to argue it is not yielding results. Of course; there are collaborations in other genres – again; I cannot think of any that speak to me or have stood out. Why, then, do Pop artists join forces and inflict that kind of thing on the public? The article explains why record labels and bosses join artists together:

“Simon Cowell's Syco label pairing Little Mix and CNCO last year was a clear attempt to expose both acts to South America and the UK respectively.

Keep an eye out for Justin Timberlake teaming up with Alicia Keys as well as long-time co-writers Timbaland and Pharrell on his new album, while producer super group Mark Ronson and Diplo are set to launch their new project Silk City in 2018”. 

“Streaming now makes up over 50% of music consumption in the UK, more than any other platform…With fans all over the world being more accessible than ever, teaming up with other acts makes a lot of sense…Because these are global artists, or artists with the ambition to be global artists, you have to think about it in terms of having the biggest possible reach and streaming lends itself to that," says Gennaro. "With the right song and artist profile, it can cut through whatever the culture...There's a powerful sense that collaborations enhance your prospects of having a successful song".

I cannot argue against the motives at play. What does get to me is what collaborations seem to say about modern music: it is about boosting profiles, getting money in and all about figures. Where does quality and actual songwriting ability come into this?! All of my favourite songs and albums from the past ten years have been by the artist themselves – none of them has featured other acts at all. Aside from Beyoncé joining with Jay-Z; I cannot think of any collaboration that is natural and needed (maybe the Justin Timberlake song, with Alicia Keys, is as close to credible as you can get today).

I get a bit tired of scanning through the Spotify new releases and having to cancel my plans for the day because it takes so long scrolling through all the names on a single song! Pop, Rap and Hip-Hop are the worst offenders: bringing together crews of names that add nothing but the odd vocal, line or murmur. I have highlighted Girls because it is the definition of wasted potential: if you are going to bring four huge names together then I could think of other options; a better song that was not constructed simply to join fan camps together and get the streaming figures up. Many could argue there is no harm letting artists collaborate and making something a bit different. I support that notion but I wonder whether we need to see so many; if any of these efforts have yielded any decent music – and why all the best duets and collaborations from music are back in the past. I live in hope there will be collaborations that genuinely stand out and do what they are designed to do: create a song that genuinely benefits from having those artists involved. I wonder whether cynicism and business has overtaken genuine passion and curious experimentation – or whether there was commercialism involved with some of those huge duets I mentioned earlier. In any case; it would be good for musicians to focus and, if there are going to be these big-name fusions; let’s make sure the end result is something the music industry…

PHOTO CREDIT: Unsplash

CAN be proud of.

FEATURE: No Loud Noise Equals a Big Gamble: Should Albums Like Tranquility Base Hotel & Casino Be Punished for Being Different?

FEATURE:

 

No Loud Noise Equals a Big Gamble

 IMAGE CREDIT: Getty Images 

Should Albums Like Tranquility Base Hotel & Casino Be Punished for Being Different?

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THE announcement of Arctic Monkeys’…

IN THIS PHOTO: Arctic Monkeys/PHOTO CREDIT: Zackery Michael

sixth studio album was met with excitement and relief – it is five years since AM and many have been hankering after something new from the Sheffield band. The release of Tranquility Base Hotel & Casino has been met with a mixture of celebration and confusion – people are not quite sure what the make of the record! Look at the collation of reviews so far – taken from Wikipedia – and you can get a sense of the critical impression and thoughts:

“…Thomas Smith of NME noted that the album was likely to be "divisive", describing it as "the band’s most intriguing record to date". He promised the album would "reward deep-diving listeners", concluding that "depending on where you’re sitting, this album will likely either be a bitter disappointment or a glorious step forward".[3] Q described it as "a strange, wonderful album, one that almost feels like Arctic Monkeys have embarked on their own full-band side-project".[23] Uncut praised the album as "low-key but engrossing", but noted that "it can be a little one-paced, and a little withholding".[4] Roisin O'Connor of The Independent described the album as "creative, intriguing and completely different".[21] Spin's Larry Fitzmaurice described the album as the group's "strangest and most alluring", writing that a "sense of heading into the unknown – of charting new and strange artistic territory, accessibility be damned – pervades Tranquility Base Hotel & Casino as a whole, its own adventurousness proving a successful gambit".[9]

 

...For The Guardian, Alexis Petridis praised the album's humour, but criticised its occasional smugness, noting that "a smart guy is sometimes all Turner seems to be", with the album's tracks "feel[ing] like less than the sum of their parts". He concluded that "at turns thrilling, smug, clever and oddly cold, Tranquility Base Hotel & Casino is only a qualified success" and is "evidence – albeit flawed – of a certain musical restlessness".

 That all seems positive and hopeful but, for the most part, people are saying the same thing: there is a lack of riffs and bangers and, for a band who made their mark (in 2003) with classics and sharp gems; fans and followers were hoping for an update of Whatever People Say I Am, That’s What I’m Not. The band were spotty and unknown quantities when they delivered that era-defining record: putting out a record like that twelve years down the line was never going to be a reality. Consider how the band has changed since their debut. They are stadium-sized icons and have amassed a huge wealth of fans – and deep wallets, too. Maybe there is more ego and pretence in the ranks: Alex Turner is not going to write lyrics about kebab shop fights and loose girls shagging bouncers in an alleyway. They documented that side of life for, well…most of their career.

IN THIS IMAGE: The album cover for Arctic Monkeys' 2009 release, Humbug/PHOTO CREDIT: Getty Images

The guys are all comfortably past the stage of life where that sort of thing sounds natural and believable. The fact Arctic Monkeys delivered five albums in seven years gave people hope that roll and determination would lead to a 2015-ish-released record that had the feel and sound of AM or Humbug. Although the bang got a little bigger and weirder since their debut – Humbug (2009), Suck It and See (2011) and AM (2013) are more confident and experimental – the template and ambition is still the same. The albums rely on great compositions with bite and meat; lyrics that poke at ill-doers and wittily transpose everyday situations; feature mundane and anxious social situations with great intelligence and memorability – tight and instant albums that showed/show why the band are one of the greatest of this generation. One cannot realistically expect the same sort of sound and vibe from the band after six albums?! The need to change and evolve comes in every great group’s life. Consider every great from music and you can see the point where they took a side-step or tried something different. Alex Turner is in his thirties and not the same guy who grew up in High Green, Sheffield. He has experienced some high-profile romances and seems rather comfortable in the glitz, sun and glamour of Los Angeles. You can hardly blame the man for indulging and spending some well-earned time and money out in the heat!

If you get famous and your band starts accruing celebrity and prominence; you will go with that and amend your life accordingly. It would be disingenuous writing about the Yorkshire streets and local tarts flashing the lads: a band that has flogged millions of records and are proper celebrities have transplanted from that environment and have moved on. The notion they will retain the acne and youthful looks and return to their debut state is a naïve bet. They could have replicated AM and its mix of Classic Rock and darker magic – that would have been formulaic and not a worthy progression. They took five years and, with that time, had a bit of a rethink. Maybe there are fewer standout guitar lines and Matt Helders (drums) is not as high in the mix. The band stated how they enjoyed the experience immensely – recording Tranquility Base Hotel & Casino – and they made a record that sounded natural and right for them.

IN THIS PHOTO: Alex Turner/PHOTO CREDIT: Neil Bedford

In an article by NME, Turner explained the new direction of Arctic Monkeys and why the album was written in the manner it was:

“Speaking to NME as part of this week’s Big Read, Turner said the life he’s led in the five years along with his work with Alexandra Savior and The Last Shadow Puppetsmade him uncomfortable with repeating himself – and compelled to try something new as the artist he is today.

“This is choppy waters in terms of pretentiousness, but I don’t know how much of a choice in that I had,” Turner told NME of the writing of their new album. “This seems like a declaration about retaining my integrity, which I don’t mean for it to be, but this was all I had. I don’t know what else I could have done, truly”.

If the album had been an epic suck-fest of lazy lines and meagre tunes, we could admonish the band and wonder what the hell they had been doing for five years! As it stands; the sixth record from the band is an unexpected, if delightful, revelation. They have produced a string of hook-driven records and owned that territory: they are changing things up and embarking on a natural evolution. Some see Tranquility Base Hotel & Casino more as an Alex Turner solo album: he took more of a lead in terms of recording and direction; it bridges his solo ambitions with the work he is doing with Arctic Monkeys. Read Turner decoding the songs on the L.P. and you can get into his mind and rationale. It is a fascinating album and one that warrants more time and open, curious eyes...

PHOTO CREDIT: Unsplash

What smears my pepper grinder is a lot of the hardcore feeling the band has sold out and let down the side. If they had delivered a quick-ish follow-up to AM – something a couple of years from its release – and produced the same sort of thing, the best you can hope for is an album that replicated AM and really didn’t move things on. That might have suited those looking for something safe, relatable and familiar: those who want the band to stretch their horizons and keep us on our toes have been pleased by the Arctic Monkeys’ newest release. Whilst the concept and vision of Tranquility Base Hotel & Casino feel paradoxical and foreign to the ethos that brought them to our attention; you cannot deny that central refrain – Turner’s acute and quotable lyrics and a tight, focused band – are still in place. It is a risk going off the known path and recording an album that sounds a little strange and ‘soft’ – it relies more on lyrics and texture as opposed that quick release and conventional structures.Tranquility Base Hotel & Casino is a divisive record and one thing you did not expect from Arctic Monkeys: a ‘grower’. It may take weeks/months before people are fully committed and appreciate what Turner and the guys are trying to do.

I can understand why the band’s biggest fans might feel a little short-changed by the record: expecting something chunky and fierce that tackled the problems of today and unleashed plenty of attack and energy. There are a lot of bands like that today commenting on the sort of things Arctic Monkeys represented back in 2006 – including IDLES, Wolf Alice; Shame, Cabbage and Goat Girl – so there is a risk the slighter older (if experienced) band might seem a little awkward and less relevant when lined up against the competition. The biggest bands of the day – who look at politics and society – have taken inspiration from Arctic Monkeys and carry on their ‘legacy’. If the forefathers continued to write the same music they did on their debut, or on their last album, it would not feel as monumental given the choices we have out there. Maybe Arctic Monkeys’ seventh album will throw the handbook of logic away and see them traversing the Sheffield streets and seeing it through wiser and less rebellious eyes. Whilst we want to see the excitement and raw rush of Whatever People Say I Am, That’s What I’m Not; who among us wants to see anything as unseemly as a thirty-something man pretend he is the same as he was then: a late-teen, early-twenties writer who saw the world through a very different lens?! Many may feel Tranquility Base Hotel & Casino is a weird and rather muted album for a band who built their reputation on different foundations. I can see why there is a bit of split and initial uncertainty but, when enough time has elapsed; we will look at the record and realise…

PHOTO CREDIT: Unsplash    

IT was the right move for the band.                                            

FEATURE: Wait 'Til the Morning: Why the Death of Frightened Rabbit’s Scott Hutchison Should Lead to Radical Action in the Industry

FEATURE:

 

Wait 'Til the Morning

 IN THIS PHOTO: Scott Hutchison/PHOTO CREDIT: Simone Padovani/Awakening/Getty  

Why the Death of Frightened Rabbit’s Scott Hutchison Should Lead to Radical Action in the Industry

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SOMEONE remarked how it is tragic…

IN THIS PHOTO: Frightened Rabbit/PHOTO CREDIT: Getty Images

we tend to remember certain artists more after their death than we do when they were alive. That reaction came following the death of Frightened Rabbit’s Scott Hutchison on Thursday. I am aware of Frightened Rabbit and have been following the Scottish band for a while now. Listen to albums such as Pedestrian Verse (2013) and it brims with emotion, honesty and exceptional quality. Frightened Rabbit were/are one of those bands who won the critical soul upon their introduction – they have been seducing and entrancing music lovers of all values for fifteen years. Maybe that initial statement is true: we tend to notice an artist and dig into their music following their death. There are icons who have died and their level of popularity has remained high – David Bowie and Prince – and was hot when they were alive. There are others who gain increased fame following their death. That is not the case with Scott Hutchison. He is not a man who hid in the shadows and penned some nice little songs to be exhumed following ill-motivated and delayed public gratification: he is a warm soul whose humanity, humility and passion touched countless lives. I use the term ‘is’ because, to many, the news he is no longer here is too raw and unreal – I have a hard time believing he is gone and we will no longer hear music with his voice on it (no new recordings anyway).

I will bring in a touching tribute CLASH wrote but, right now, a word about the effect and shock Hutchison’s death has caused. Although we know his death is a result of suicide; one cannot fathom and truly know what was going through his mind in the hours that led to his death. I have been in a situation (more than once) where I have been in the bleakest place and panicked about my life – whether I wanted it to go on and unable to rationalise existence. Fairly recently, events and eye-opening soberness have caused a similar shock: the black dog barking in the year with a rusted chain around its neck; the rain lashing its weathered and scared face. You can romanticise and distance the sharp bite of mortality and suicidality all you want – the actual starkness of it is not lost on those who have been affected by it. I will not go into my own experiences but I can, at least, emphasise with Hutchison and what must have been going through his head in the days leading to his suicide. Words he spoke in the days prior to his death painted the picture of a loving man who felt unable to ably and proficiently profess love to those dear; a slight sense of detachment and numbness that was causing him immense pain: a gut-wrenching and shocking revelation from somebody who has provided so much incredible music.

PHOTO CREDIT: Unsplash

As part of Frightened Rabbit; the frontman delivered some of the finest music of his generation. Although the group will, inevitably, garner new curiosity and increased sales following Thursday’s devastating news; I hope people do not solely seek them out because Hutchison is no longer here – or people do not feel weird or strange investigating their music because he is dead. What makes the songwriter’s death so sad is the testimonies and stories being recounted and regaled so warmly and vividly. Journalists, fans and musicians have shown a unified love and positivity from the now-departed Hutchison. One might assume a man who wrestled demons and disturbed thoughts would be a sullen and isolated figure; emerging from the shadows a few times a year and snapping at anyone who came his way. The truth, really, is this: the sheer presence and force of nature that is (I should say ‘was’) Scott Hutchison charmed and affected everyone he came into contact with. If human beings can be compared to albums, then Scott Hutchison is, to me, Rumours: there is complexities and battles going on behind the scenes but the overt and life-affirming pleasures one gets from him remain in the soul forever. His music and melodic sensibilities were complex, universally adored and unique. His look and demeanour has the nature of a warm and cuddly bear and, in reality, that’s what he was. The man never looked down on anyone or judged another human; he was candid but gentle; human but, oddly, immortal and different from all of us.

PHOTO CREDIT: Getty Images

The music Hutchison helped to create (as part of Frightened Rabbit) revealed his inspiring D.N.A. and how his mind ticked. Although a lot of the music had a bleak and afflicted quality; the man who helped articulate those sensational moments was not a fatalistic and doomed figure we would associate with that kind of music. If my thoughts seem tangled and contradictory then you will excuse me – piecing this all together and trying to coherently react to such a figure’s death is a hard thing to do. I want to talk about the wake of Hutchison’s death and why more needs to be done. I said I would bring in a tribute from a writer and friend of Hutchison. Robin Murray, writing in CLASH, provided memories and thoughts about the Scottish icon:

“…Everywhere, though, was this radiant, magnetic personality. Everything Scott touched seemed to exude a pure, instantly recognisable, creativity. Trained in visual arts – he studied at Glasgow School Of Art – he drew many of Frightened Rabbit’s album covers and gig posters, before recently illustrating a book of poetry for a close friend.

Some time ago, Clash invited Frightened Rabbit to send the office postcards from a tour of tiny venues in the Scottish Highlands. Most bands were wary of the invite, but Scott leaped to the task, grabbing the naffest postcards he could find and filling them with obscure reminiscences, ribald jokes, and the odd drawing or two. A lesser noted talent was his beautiful handwriting; Scott could make even the most prosaic sentences leap from the page”.

That is a perfect and no-need-for-amendment expression and representation of Scott Hutchinson. Whilst words like this do proud a man who made so many happy; it is bittersweet because we wonder, given what we know, a human who was beloved by so many would take his own life. I am not here to forensically examine his psychology and what triggered the decision he made last week – that cannot change the facts and bring him back. What I do want to see if greater awareness and support given to musicians. I have written about mental-health and how lives are being lost, possibly needlessly – the last time I wrote about it was after the suicide of Linkin Park’s frontman, Chester Bennington. Although there is not a sky-high rate of suicide in the music industry; there are thousands suffering mental illness and struggling with daily battles. The manifesto of mental-health is a rich, worrying and complex one: it is a spectrum that cannot be defined as ‘depressed’ and ‘happy’. Not everyone who has a mental illness is depressed; not everyone who is depressed can be seen and helped. That may sound like a simplistic and harsh assessment of a battlefield that is seeing too many casualties. Great organisations such as the Samaritans and CALM exist to help those in distress…is this enough?

PHOTO CREDIT: Unsplash

Those organisations do fine work and tirelessly aid those who need urgent help. Whilst their resources are stretched and vital; I have to wonder whether greater investigation needs to occur. One can say people outside of music suffer poor mental-health so we need to cast a new on society as a whole. Music is one of those industries where mental ill health is acute and well-documented. Barely a day goes by without stories of stress, anxiety and self-harm. I do not pick my contacts on the state of their mind: it is an indiscriminate and irresponsible illness that stalks those who deserve happiness the most. We can see the unpredictable nature of mental illness means we cannot help everyone or force anyone to speak. There are bespoke music/mental-health charities that are open to those in the industry but it is tragic and wrong seeing fine musicians take their own lives. I know Hutchison’s situation and worries are different to other people – it is not obvious why he made the decision he did and whether more could be done. He was love and supported by those around him: the decision to end his life was one he felt he has to make…something that may seem incomprehensible to some. Mental illness is a tough thing to comprehend and each person is vastly different.

<

Some beautiful tributes here 💖 ⚡️ “Why Scott Hutchison and Frightened Rabbit meant so much to fans” https://t.co/VKKYQuMPKv

— Lauren Laverne (@laurenlaverne) May 12, 2018

I would like to see more money spent offering help to musicians and raising more awareness. The campaigns and posts on social media – following Hutchison’s death – are heartening but, in a few weeks; have we made progress and sent a message to those in the government. Funding is coming but it is not enough – it is not fast enough. A huge and adored human such as Scott Hutchison had legions of fans and countless admirers. There must have been something going on he felt he couldn’t control. Every notable and tragic death raises questions as to whether music is too demanding or we are lacking necessary resources and focus. I feel we have got to a point where more artists will take their life and nothing will be done. The army of voices out there is not as powerful as the potency of financing, movements and real change. Whatever form that takes, we have to make this declaration: something needs to be done. Hutchison’s music and memory will last forever; his spirit and personality are present in the blood and bones of those he met; his influence and legacy will affect and drive the next generation. There is no doubt the bonny and bright songwriter will fade from public consciousness at any point – let’s hope his death leads to action and proactive change. I, as I have said, have been affected by the worst grip of depression and came out the other end – nobody who suffers poor mental-health is immune and safe from its devastating sting. I, like everyone, want to see improvement and a proper response to the epidemic. It should not take a single person to get the government into action and taking a stand but if the death of Frightened Rabbit’s lead gets the ball rolling to a revolution then…

PHOTO CREDIT: Unsplash

SOMETHING good will come out of a tragic and horrible loss.

FEATURE: The May Playlist: Vol. 2: Chaos and Tranquility

FEATURE:

 

The May Playlist

 IN THIS PHOTO: Childish Gambino 

Vol. 2: Chaos and Tranquility

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THIS week has been a rather big one…

IN THIS PHOTO: Arctic Monkeys/PHOTO CREDIT: Zackery Michael

and raised some surprises along the way! I am still getting over the incredible video from Childish Gambino – This Is America has been doing the rounds and dropping jaws! In addition; there is a new – and much-discussed – album from Arctic Monkeys. Tranquility Base Hotel & Casino is dividing fans and critics but one thing is for sure: there is nothing boring about their new one!

Also included in this Playlist are new ones from Jordan Rakei, LUMP and Anne-Marie; Johnny Marr, YONAKA and Miles Kane – plus, some good cuts from Justice, Years & Years and Beach House.

ALL PHOTOS (unless credited otherwise): Getty Images

_____________

Arctic Monkeys – Golden Trunks

Childish Gambino – This Is America

LUMP – Late to the Flight

Jimmy Eat World – Love Never

Anne-Marie - 2002

Carrie Underwood – Cry Pretty

Ina Wroldsen – Remember Me

PHOTO CREDIT: Mitch Lowe

Justice – Stop (WWW)

Maisie Peters – Worst of You

Beach House – Dive

Christina Aguilera - Twice

>

Jungle – Happy Man

>

Miles Kane – Loaded

Jordan Rakei – Wildfire

Greta Isaac – Undone

Wye Oak – It Was Not Natural

Years & Years – If You’re Over Me

Sea Girls – Too Much Fun

YONAKA – F.W.T.B.

GOAT – Friendzone

Ruby Francis – Twice

Meghan Trainor - Can't Dance

PHOTO CREDIT: Tim Saccenti

Chromeo – Bad Decision

Tallia Storm – Girls Are Changing the World

Chasing Abbey – Choices

Johnny Marr – Hi Hello

Girlhood – Milk & Honey

Rita Ora (ft. Cardi B, Bebe Rexha & Charli XCX) - Girls

Skepta – Pure Water

Delta Goodrem – Magic

Luke Haines – Oh Michael

Bastille – Quarter Past Midnight

RuthAnne – Take My Place

Nina Nesbitt – The Sun Will Come up, The Seasons Will Change

THE HUNNA – NY to LA

Kara Marni – Love Just Ain’t Enough

Alice Boman – Heartbeat

FEATURE: Hippocampus Unanimous: How the Way Music and Memory Interacts Mean We Are Mixing Modern Fascination with Fond Remembrance

FEATURE:

 

Hippocampus Unanimous

 ALL PHOTOS (unless credited otherwise): Unsplash 

How the Way Music and Memory Interacts Mean We Are Mixing Modern Fascination with Fond Remembrance

__________

A recent survey suggests we are all…

still gravitating towards established and well-known music. Artists like Ed Sheeran and Kendrick Lamar are huge on streaming sites but it seems, when we want that reliable and sensational musical hit, we are reverting back to the songs ingrained in the mind. I will bring an article into play soon but, right now, I have been thinking about memory and how and why certain songs remain in the mind. I must admit; even though I spend most of my waking live reviewing and interviewing new artists: the music I listen to most if older sounds. I always play songs that hold dear memories or have something special about them. That is not to say new music is worse or less affecting than classic music: we all retain those songs that soundtracked our best days or helped us through bad times. I have written about music and memory before – and the role of nostalgia – but it seems, when music is at its heaviest and most full; we are still remembering and proffering songs that have scored important moments and helped us through childhood. For me; my chest of memories seems to start in the late-1980s and runs through to the early-'00s. I tend to find those memories and emotions that come flooding back are more powerful to the ones that come from newer music.

Because the music is fresh and has not had time to settle in my mind; I go to older music because I know it is able to elicit the effect I require. There is a name for this phenomenon – as this article - http://www.bbc.co.uk/news/entertainment-arts-43995542 - explains:

“Research shows that the music of your teenage years is hard-wired into your brain.

There's even something called the "reminiscence bump" - which shows children have superior recognition for songs that date to their parents' and grandparents' teenage years.

And while streaming services fight each other for exclusive new releases, Spotify's own research shows that 40% of songs are streamed more frequently in their second year on the service than their first.

This week, the BPI released data on the "oldies" we played 2017 - showing that songs like TLC's No Scrubs, Toto's Africa and The Temptations' My Girl are still receiving millions of streams.

"Older songs are quietly accounting for a very significant proportion of listening," says BPI analyst Rob Crutchley, who calculates that 30% of the music played on streaming services was released before 2010”.

It is interesting discovering such a large percentage of music played on streaming services was released before 2010. It might not be a shock because the vast majority of music released came before that year. I think there are other reasons why we prefer a good slice of TLC as opposed the latest cut from Young Fathers.

IN THIS PHOTO: TLC/PHOTO CREDIT: Getty Images

It is great to get that new music to the ears and find something original and unexpected. It does what it needs to do but, when the song(s) have bled into the mind and resonated; they tend to pass through as we are exposed to the next batch of artists. The older songs – and the most-streamed of the past few decades – have stuck because of a physical and simple nature. There was less music back in the 1990s and we bought a lot more physical releases. There is a power when we think back to how we purchased and consumed music. It is harder to remember songs now because we are listening through the Internet and exposed to so many different options. That is not to suggest things now are in a worse state: the artists we have are pushing boundaries and there are some tremendous creations coming through. It has been speculated people of a certain age have better memories and find it easier to hold close songs from years ago. That memory subject divides my opinions. Maybe people of my age (in their thirties) have strong memories and we are able to remember further back and those songs we were exposed to as children. My parents’ music taste seems to be more rooted in what they grew up around. I feel, as new generations come along, memories will shorten and we will start to close that gap – listening to more music from the present and not investigating that far back.

I do not think there is anything to worry about for new artists. It is hard to soak in everything that is thrown at us. Music is at its most popular and interesting right now. Whilst we may not stream the same songs multiple times – or keep them in mind years from now – we are more daring and bold with our tastes. The buffet of music is out there and we have the option to hear music from all around the world. Good memory at the physicality of music has been replaced with limitless options and a much wider and deeper palette. The part of the brain that stores memories is more intriguing than any other (part of the brain). We might forget what we did earlier in the day but can, at the drop of a note, remember when we first heard that song and the people who were there. It is no surprise the songs we grew up around are lodged firmly in the memory and we can recall them whenever we need. One can quibble regarding quality – music was better and more impactful then – but the argument is more complex. We cannot truly say whether older music is more popular and demanded than new stuff. There is more music from the past but the streaming figures for the biggest artists of today are immense.

I feel there is a nice balance between the bygone tracks that have established their worth and the bigger, new stuff we have before us today. The fact we are coming back to studied we heard the year before and things are not connecting right away raises questions about modern music and how it takes longer to sink in – given all the competition and availability we have. What comes out of this is how important memory is and how, in an age of streaming, we are still holding onto less-than-new stuff. I wonder how new generations will digest music and whether the dynamics will change. Will we see the music of now overtakes artists from the 1970s, for example, as a preference? Another issue is a generational divide and how our parents and grandparents are not as intrigued by streaming as their children. Spotify and other platforms still find a greater audience from those who are more au fait with technology and grew up with the Internet. This is one of those topics that fascinates me and is vital when it comes to understanding who listens to what music and how memory and sound entwine. That hippocampus importance and how good memory not only affects how we retain music from the past but explore more from the present – I can see this trend impacting listening figures and tastes in years to come. It is important to keep those classics aflame but we must not forget about the current market who are pushing the industry forward and, let’s hope, forming wonderful memories for…

THE young of today.

FEATURE: Under the Overdraft: The Risks of Operating a ‘Free for All’ Policy in Music

FEATURE:

 

Under the Overdraft

 ALL PHOTOS: Unsplash 

The Risks of Operating a ‘Free for All’ Policy in Music

__________

THE next few months…

will be quite a busy and stressful time for me. I have quit my, frankly, horrid job and decided it is time for a change. Many people do this but, without a job straight to go into, I have left myself quite a task to fulfil. To be fair, a full-time job is not on the cards where I am: I plan on moving to Manchester and working up there. For the moment, then, I am caught between getting some part-time/temporary work – to keep the money coming in – and starting the ball rolling up there. I want to visit Manchester next month and have a look around; check out a couple of flats and, most important, make sure I have something lined up regarding work. It is all a case of balancing things and transitioning without being too short of cash or being unprepared. It is quite a scary time but exciting all the same. Going somewhere new and experiencing ‘foreign’ people is pretty cool. It will be a case of transitioning and settling in but, when it comes to Manchester; one does not have to struggle for company and friendliness. One of the biggest gripes and concerns right now is how few people are willing to pay for musical coverage and subsidise my blog. Part of the plan is/was to work part-time on my blog and do part-time work out in the open.

This is predicated on musicians and labels stumping up a bit of cash for my work. There are a couple of websites I am checking out – one that is run by a label boss – that goes behind the scenes and takes away the middleman. The pitch is put on the site (not sure if I can mention it at this point) and negotiations would take place. The journalist would make an offer to the musician/submission regarding fee and what the interview/finished product would consist. Once the work has been completed and everyone is satisfied; the money would be transferred and that would be it. It is designed to disintermediate and ensure artists who pay P.R. companies and labels a lot of money to promote their work are targeting blogs who can give value for money and ensure the finished product is what they want. So many artists are paying big companies to pitch their material and get as much coverage as possible. It is hard to say how effective a promotional campaign is and whether it is as potent as planned. This site guarantees a good selection of blogs and a chance to compartmentalise and control the overall costs. It sounds great but what I have noticed is this: those who are big and have great artists on their books are not willing to pay for work; those who are new do not, perhaps, have enough money to go beyond what they pay to labels/P.R. firms and give it a journalist.

It is frustrating when you deal with those you know have that budget and money but feel, if they have had work done for free before, they should not pay out. Others do not pay the media for work and, instead, all the money an artist gives them stays within the company. That may sound fair but consider we are talking hundreds per campaign: some P.R. labels will have a couple of dozen clients and several people working for them. I guess you have to take into account wages and time but, when those are taken away, there is still money left over. There are one or two who are willing to pay a donation but it seems, largely, there is a stubbornness among those who want to get everything for free. Before; I took submissions and did not charge anything for them. I was working full-time but it meant I was working about ninety-five hours a week – in order to keep up with demand and ensure I could do both. I found, no surprise, doing that was not economical. What I am now facing is having to do a full-time job working more hours and less time to do work. The trouble I have is I can get anywhere up to forty submissions a day. So much of my time is spent emailing and having my hours calendared. That is fine but, when you have to balance that against work; how many spare hours are left? The perfect option is being able to split work and writing and have some free time to relax.

What I am doing now, or will be, is turning a lot of people away or asking if they would donate a fee – many will turn that down and it means far fewer articles and interviews going up. I explain this to people and, rather than a plea to stop that and a bit of anger, there is that nonchalant shrug of ‘I know what you mean’ and the feeling that, if I did that, I would be forgotten about and it is all part of the machine. Whilst many/most of us in music are part of that machine and demand; every single human being I know in music gets paid for it! Maybe the bloggers do it for free but all musicians and those who submit to my have an income. It is a shame to think I might have to limit my blog and dedicate more time to workaday jobs because of this struggle. I can understand why those less-well-off artists want to keep their money safe and do not have huge budgets. I have been speaking with others in the industry and many go through the same thing: they are writing for free and many have a pay-to-play option. Many venues are charging them money to pay so (the venue) does not lose money and gets something. Others are gigging for petrol money and it seems the money that is in the business is either with the bigger labels/bands or venues themselves.

I wonder whether journalism is a career that anyone can actually have any more?! With such competition and options around; it is seen as something that needs to be done for no financial reward. It seems strange because there are more and more musicians coming into the market. The demand is always increasing and every artist out there needs promotion. I am not going to quit what I do and want to keep my name among the frontrunners of the music world. In order to do this, and keep the blog going, there needs to be money coming in – spending most of my hours on a boring job to make ends meet is not something that appeals to me. If one has a strength and talent then it is not fair they should be doing it for free all the time. Musicians seem to be in the same predicament: there is less money out there and many people are working for very little pay. So many artists are stretching themselves to the limit and it is rather upsetting to see. I guess, with more people coming in, the coffers need to be split and divided. For musicians; they are relying on merchandise and endlessly gigging: journalists do not have many options beyond advertising. My ideal situation would be working for a P.R. label/radio station or somewhere I could do what I do for money and learn some new skills.

For that, I need to have the experience and training and, for the most part, that is unpaid – not viable for a non-student and someone who needs to pay rent. Regardless of talent and prolificacy; it seems the big journalism jobs will be for the middle-classes and privately-educated. It is tough for people like me and, with demand increasing and money a huge factor; other options need to be explored (for now). Advertising is an idea that has been suggested but with the caveat of research and a business plan. If one wants to hit the right advertisers and keep their income consistent and unimpeded; they need a professional pitch and put the hours in. It is a daunting and challenging prospect and, even when you are agreed on terms, the sort of money you will earn is variable. It might take months to get anything slightly reasonable. It seems there is a discrepancy when it comes to earnings and sides of the industry. Musicians vary in terms of what they earn but journalism’s profitability seems reserved to those bigger sites/publications. It is a shame there are so few willing to subsidise writers and ensure they can continue to work. I do wonder why some labels are rigid when it comes to payment and whether, in this day and age, everyone expects everything for free.

Going forward and it seems, in order to keep journalism afloat and ambitious, there needs to be money available. I cannot expand and diversify my site on my earnings as they are. I do not have the time to put in more effort and, to get the best from my site; I need to have a bit of income arriving from those I write for/about. Advertising is an available route but it seems to be a rather tricky and gamble-laden option. We also need to consider musicians and ensuring they are compensated for their time. Too many are working for free or paying venues to perform! That seems ridiculous and unworkable for many. Turning music and journalism from a job to an unpaid passion is a dangerous culture. More people will drop out and fewer will be attracted to go into the industry. This will lead to a privation and detriment none of us can afford. Many might muse where the money is going to come from and how can we fairly pay everyone in the business. That is fair, but I would counter that by arguing that nobody in any industry – unless it is a volunteering role – should be unpaid. What I and thousands out there do is not a hobby or casual thing: this is what we want to do and what we provide every day of the year.

It may be beneficial to labels and artists putting stuff up for free in a timely matter: those who have to sacrifice social hours and struggle for money are the ones being hit. I know musicians who are in the same hole but none, to my knowledge, do every single gig for free – that would be a barbarism and injustice one could not overlook! There are great websites that offer the chance for artists and labels to donate a fee and ensure blogs/sites are subsidised: if everyone/most says ‘no’, then how can one reasonably expect blogs to produce work and feel it is okay?! It is a complicated argument and there is only a limited purse out there. I feel there is a disparity of wealth and I see too many social media posts of bigger labels/D.J.s/writers splashing the cash and not really struggling – many others are living on the breadline and, because of that, have to work two or more jobs and push themselves to the ragged edge. My plans, going forward, very much include my site but I realise I will have to cut back and take fewer submissions on board…otherwise, I will not be able to afford rent and have any options to go out or have any sort of a life.

It is sad but, unfortunately, something many people have to live with now. It is not right or fair and, for those who have been working free of charge for years; it is only right that dedication and excellent work is paid – this goes for journalists and musicians alike. It may be tough for those who organise interviews and work but think about those people you are emailing and the position they are in. Many times, they are doing all the hard work and putting in much more effort. They do this all for free and it seems, at the end of the day, all the money earnt from the artist stays with the label/company – I know it their professional job but it seems unfair to expect every person you contact you work for free. I would like to see this change because, if journalists and musicians have to work endlessly or give up what they love to simply keep the bank balance in the black then that will make music a much…

POORER and undesirable place.

FEATURE: This Is Childish Gambino’s America: How a Single Music Video Ignited the Internet and Proves the Format Is as Relevant and Powerful as Ever

FEATURE:

 

This Is Childish Gambino’s America

IN THIS PHOTO: Childish Gambino (Donald Glover)/PHOTO CREDIT: RCA Records 

How a Single Music Video Ignited the Internet and Proves the Format Is as Relevant and Powerful as Ever

__________

IT is a little bit TOO hot today to do any real journalistic pounding…

PHOTO CREDIT: Getty Images

but I felt compelled to put my fingers to the keys and express an admiration and shock concerning Childish Gambino’s video for This Is America. Childish Gambino is, as you know, the moniker of actor-and-all-round-genius, Donald Glover: he is dispensing with the sobriquet and, let’s hope, making music under other guises…or, as his regular self. The thing with Donald Glover, mind: he is anything but ‘regular’ and ordinary. The third album from Childish Gambino, “Awaken, My Love!” is, hard to believe, two-years-old now (I swear, it only came out a few months ago?!). The eleven-track record got critics swaying and swooning; it impacted and was a huge hit! Now that Glover has announced plans to put Childish Gambino to stud; many have looked around and wondered where our next hit of passion will come from – now that we will no longer hear from the interestingly-titled-singer-songwriter. Hold right there, you! Like a golden pigeon shot from the sky by a cannon of psychedelic candyfloss – it IS rather hot… - Mr. Glover has shut my mouth and unleashed a new song: the mighty and timely, This Is America. From a black artist living in a corrupt and evilly-ruled nation; the song was hardly going to be a celebratory and proud thing! It is rare to think back and find, in the recess of memory, a music video that made such an instant impact...

I guess Beyoncé, when Lemonade was released a couple of years back, gained plenty of hype and focus – that was more to do with her status and the fact she had an album coming. Childish Gambino’s single has got the Internet exploding and drooling with equal fortitude. I am not sure whether this is the precursor to a final album or a one-off single. Childish Gambino is embarking on the This Is America Tour so one can only assume an album is on its way. One of the reasons so many people have put his name on top for the Twitter trending table is the extraordinary video for This Is America. You only need look at the video (above) to see what all the fuss is about. It is this phenomenal piece that is more performance art and dance than a conventional video. If it consisted multiple locations and something multi-million-dollar and glossy; I am not sure there would be the same level of fever. It is our man Donald Glover, essentially, dancing and weave his way through, what looks like a parking garage; backed and joined by a crew of dancers and extras. The video stays innocently and calmly as we see a black male playing the guitar whilst sitting on a chair. Our hero wiggles his body and starts dancing away as he is joined by choirs and young dancers. The foreground is quite goofy and humorous whilst, in the background, we see panic, cars on fire and police controlling crowds.

VIDEO STILLS: YouTube/Donald Glover/Hiro Murai

The video is, as I said, shot in a large underground compound/carpark, it seems. Everything happens on this one level and the camera does not really move all that much – all the action seems to happen in the single shot; busy and teeming with activity and physicality. Many, myself included, noted how the eye is drawn to the background and the violence and rush you see. One is hooked by Childish Gambino and the dancers: you are split between this alluring and strangely captivating dance and something filmic and dramatic happening behind. Maybe that funny and slightly off-kilter dance is a metaphor for the government’s approach to gun violence and the plight of black America. The song’s messages of gun violence and endless hate are perfectly and potently portrayed in the clip. The camera does a tracking arc where it goes to a level above the ground and shows children, wearing masks, filming the carnage of their phones. By the time the camera swoops back down; we see cars ablaze and a sheer panic. All the while, more intense and popping than ever; our man is unfazed and even more engrossed in his dancing ritual. It is a striking contrast and somewhat flippant response to the desolation and hell that has been unleased. One can theorise and guess as to the messages and symbolism in the video. It is the evocative and brash mingling of light relief and an eye-opening reality that makes the video so strong.

It is amazing to see how it progresses and follows an arc. You might assume such an imaginative and staggering piece is directed by, say, Michel Gondry: it is the sturdy and stunning lens of Hiro Murai that is responsible for what we are seeing. Maybe it is ironic – or not! – that the most startling, relevant and important videos we have seen in the past few years have been from black American artists. You can look back at Beyoncé’s promotional videos for songs like Formation and Freedom; the stuff Kendrick Lamar has released from DAMN. – including its title-track and HUMBLE. Not only are these lavish, meticulous and gigantic creations; they are delivered by incredible black voices who are seeing their people marginalised and overlooked. Of course, the likes of Beyoncé are addressing women and other parts of society who are being forgotten and trampled on. It seems noteworthy seeing these phenomenal artists angrily react to the way America is being run; producing masterful videos that accompany stunning and mind-opening songs. Before we even get to the most memorable scene in This Is America’s video; one needs to take a breath and try and get on top of everything. Even though there is a single location (a large one, mind), the sheer effort needed to put it all together is immense. The foreground choreography is impressive and complex enough: look at what happens in the background and it is, in a sense, its own film! I am not sure how many days and weeks it took to conceptualise and visualise a generation-defining video that has dropped jaws around the world.

It is the depiction of gun violence that has drawn the biggest reaction. In the video, Childish Gambino is shot side-on and pulls, what looks to be a gun up – it is his fingers he is simulating to look like a gun. Everything has slowed and focused – from the frenetic and full-on scenes before – and the hero lights a cigarette and walks to the right of shot…out of the frame and, likely, completing Act II of the video. We return to the opening shot – the black man and his guitar – but the man has a sack tied over his head. Childish Gambino walks over expensive cars and it seems, at this stage, the focus turns to social inequality and racism; the way the white, rich Americans and oligarchies are trampling others; how less-wealthy and prosperous areas are ignored by those in power. It is the scene of Childish Gambino dancing on a damaged car – the runt among the litter of luxury cars – and the camera tracking back that perfectly ends things. The guitarist is still trapped and we see a woman (SZA) sitting on a car to the right of shot. The hero is back in frantic mood and dancing evocatively as the camera pulls away. Just when you think things are over; we have the grand and thrilling finale. Before all of this; we have seen Childish Gambino/Donald Glover as a narrator and someone watching all the violence and terror takes place.

There is a black-out and, when the lights come back on as it were, our man is running for his life. All of the turbulent crap and building tensions of the background have come to the foreground and bearing down on the hero. We see him being chased – a stricken and terrified look on the face – with an assorted crew hounding and honing in on the ill-fated lead. Another twist and narrative has been brought in and brings a fascinating and unforgettable story to an end. The video has accrued over sixteen-million YouTube views and is number-one on its Trending list – I suspect it will be there for another few days at the very least! People are not really talking about new albums and where Childish Gambino is going from here: it is all about the here and now; that striking and biblical video. I mooted before and wondered whether the music video holds sway and importance in this day. We are past the flash and popular cool of MTV and the heady days of music T.V. Now, in a relentless and ever-packed world of streaming and ordinary videos; do we ever see anything that sticks in the mind and challenges the finest videos of all time?! I feel there have been so few in the last decade that could sit on the same planet as the very finest videos of our time.

PHOTO CREDIT: Unsplash

That is not the fault of the artists and directors: it is hard breaking ground and uniting attentions at a time when we are more distracted and less focused than ever before. Not only are we shorter of attention and more demanding; the world is more fractured and frightened – we are not really in a frame of mind to herald videos and talk about that sort of thing. There are great music videos released every year: not as many epic and epochal ones as we saw in the 1970s, 1980s and 1990s. Cultures have changed and we experience music is a different way (to back then). There was not the endless teaser campaign and drip-fed promotions ahead of This Is America. Instead, we had a bit of warning and the thing dropped from the sky. It has been shared, discussed and dissected ever since it arrived a couple of days back. I suspect people will take a while to fully comprehend the magnitude and visceral nature of the video. It is such a strange and phenomenal beast. The world has not seen anything as timely and loud as this in a while. At a time when black America is being pushed down and gun violence is at a shocking high; this is a video that has spoken louder than any politician or celebrity. There has actually been a lot of discussion about where the video is trending. It is top of the pile in Europe and other areas but not, until quite recently, in America.

PHOTO CREDIT: Unsplash

Maybe that is ironic and the perfect proof of what Childish Gambino is saying: important issues are being ignored and reduce to nothing. I know American viewer and listeners have got behind the song: it has made more of an impression outside of the U.S., it seems. It would be unwise to suggest there is racism and a callousness among some of the people – those the likes of Childish Gambino are rebelling against and holding to account. Maybe the message is too raw and real for people to deal with: perhaps the rest of the world is more aware and determined to highlight the state of a once-great nation. It is not only the plight of the black population and those who are subjected to violence and hatred. In many ways, the video looks around America and underlines the wealth divide and how things – under President Obama – have gone from relatively stable and safe to the point where we fear nuclear fall-out and the wet dreams of an unstable and demented leader. Donald Trump is the unseen, unnamed villain and perpetrator who is watching all of this sh*t happen and letting it go on. There is so much to digest when it comes to This Is America and its astonishing video. The song is almost overlooked in many ways.

PHOTO CREDIT: Unsplash

The lyrics are incredible and perfectly mirrored in the video. It is the way a track as angered and truthful as This Is America has been given a huge pulpit and platform to deliver its message. I am not sure how much the video cost but it was worth every dollar! So much has been achieved with the use of actors, a few vehicles and a perfect coming together of director and star. It is the physicality and fluidity; the way light-hearted and fearful weave and play alongside one another; how the eye is sent to the background and why that is – how much the video seems to represent the way politicians ignore problems and they are like puppets distracting the eye from the truth. As I said before: you can pull the song apart and try and decode its every angle and scene. If you have not seen the video before, I would urge you to go watch it – after reading to the end – and realise why it is causing such a sense of excitement and shock. We have not seen a music video come along that has caused such a reaction and amazed the world the same way as Childish Gambino’s This Is America. It would not be an exaggeration to say we will not see a video as astonishing and powerful come along…

PHOTO CREDIT: Getty Images

FOR many years to come.

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?

__________

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.